SOCIAL SCIENCE

6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

!E"E# Culture, Dignity, and Identity CONCEP # Everything Out of Africa The impact and legacies of Early African peoples, cultures, and kingdoms CON EN OPIC# Investigating and researching the ancient kingdoms of Africa, their intellectual influences and relationships to the development of a global culture through fiction and nonfiction texts. UNI I LE# he African influence on the !editerranean "orld

Unit $escripti%n# #tudents "ill read a variety of informational texts, including primary, secondary, and
tertiary sources that pertain to the themes of cultural identity and the relationship of Africa and African Africans to $reek and %oman art and culture. In this in&uiry'based unit students "ill examine the role of Africans in the $reek culture through investigating the epic tales of the ro(an )ars, discovering that it "as not (ust $reeks and ro(ans "ho "ere involved but also Ethiopians and the $reat *ing !emnon. +y reading ancient $reek accounts, and the depiction of the Ethiopians and heir *ing in $reek Art, students "ill find that Africa and Africans played a key role in this ama,ing story and that the only reason "e have never heard of *ing !emnon is through the choices of texts used to tell the story. #tudents "ill also be able to compare and contrast African and $reek !yths, -egends and Epic #tories.

Len&th %f Unit. / )eeks 1. !ist%ry# Events and actions of the past affect the present and the future. Enduring 2. Identity# $lobal societies create varied cultural perspectives, contributions, and 0nderstandings
challenges. 3. Ge%&raphy# !ovement and migration of people and ideas affect the past, present, and future. Guidin& Essential Questi%ns# I5 6o" do culture and identity influence "ho "e are7 II5 6o" do time, culture and history influence "orks of art and8or the advancement of science and technology7 III5 )hat can I do to positively impact my community7 'eadin& '!(6)*(+( Cite specific textual evidence to support analysis of primary and secondary sources. '!(6)*(2( Determine the central ideas or information of a primary or secondary source9 provide an accurate summary of the source distinct from prior kno"ledge or opinions. ,ritin& ,!S (6)*(-( Conduct short research pro(ects to ans"er a &uestion :including a self'generated &uestion5, dra"ing on several sources and generating additional related, focused &uestions that allo" for multiple avenues of exploration. ,!S (6)*(*( $ather relevant information from multiple print and digital sources, using search terms effectively9 assess the credibility and accuracy of each source9 and &uote or paraphrase the data and conclusions of others "hile avoiding plagiarism and follo"ing a standard format for citation. ,!S (6)*(.( Dra" evidence from informational texts to support analysis reflection, and research.

Essential 4uestions

Common Core #tandards

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SOCIAL SCIENCE

6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan
Spea/in& and Listenin& SL(6(+( Engage effectively in a range of collaborative discussions :one'on'one, in groups, and teacher'led5 "ith diverse partners on grade ; topics, texts, and issues, building on others< ideas and expressing their o"n clearly. SL(6(2( Interpret information presented in diverse media and formats :e.g., visually, &uantitatively, orally5 and explain ho" it contributes to a topic, text, or issue under study. SL(6(0( =resent claims and findings, se&uencing ideas logically and using pertinent descriptions, facts, and details to accentuate main ideas or themes9 use appropriate eye contact, ade&uate volume, and clear pronunciation. SL(6(1( Include multimedia components :e.g., graphics, images, music, sound5 and visual displays in presentations to clarify claims to clarify information.

Cognitive #kills

E2ecuti3e functi%ns =lan >lexibility. change direction if not "orking9 adopt multiple approaches #trategy use. ability to reflect on strategy and select appropriate strategy hin/in& s/ills %easoning about concrete items versus abstract ideas Analy,ing8evaluating arguments Developing a logical argument Inductive reasoning. using specific examples8observations and forming a more general principal Deductive reasoning. use stated general premise to reason about specific examples Appreciation. recognition of the value of something

Content

4uildin& 5n%6led&e hr%u&h e2ts African interaction and influence on the !editerranean "orld "as common and "ell kno"n Africans "ere depicted "ith pride and dignity in $reek, %oman and Egyptian art he greatness of a culture can be measured in various "ays Africa had an immense impact on the "orld<s many cultures both directly and indirectly

Assessments :>5 >ormative

>ormative assessments for this unit consist of. $uided %eading and $uided )riting, anecdotal notes, group meeting minutes, fre&uent checks for accomplishment of group and individual intermediate goals, reflections after each group meeting, summaries of select portions of text, exit slips, and expository "riting samples in response to short, informational texts and the accomplishment of several stand'alone pro(ects, "hich "ill be a component of the final summative assessment. +ased various texts, students "ill create a play, story, book, "eb'page, =o"er=oint, =re,i, video or other presentation depicting ancient $reek, %oman or !editerranean history "hich address the role of Africans in the development of the !editerranean "orld. Each team "ill be responsible for presenting both oral and visual pro(ects. III( 4AC5G'OUN$ 5NO,LE$GE

:#5 #ummative

ext8 %esources

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SOCIAL SCIENCE

6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan
15 >or eachers a5 Oya?s =lan of reason, https.88sites.google.com8site8theyorubareligiousconcepts8oya's'plan'of' treason shango b5 Africans Contributions to %ome http.88""".raceandhistory.com8historicalvie"s8rome.htm c5 >rank !. #no"den, @r. on +lacks in the Ancient $reek A %oman )orld $ood resource for teachers to increase their content kno"ledge https.88""".ho"ard.edu8library8special8excellenceBho"ard8sno"den8+lac ks.htm d5 Image of the +lack in )estern Art http.88dubois.fas.harvard.edu8image' black'"estern'art'research'pro(ect'and'photo'archive

e5 Ancient Ethiopia http.88""".afrolehar.com8cultural'space8bahil f5

>ree =D> of the book by 6yde, -ilian #toughton, Favorite Greek Myths Cesterday<s Classics, --C, Chapel 6ill, Dorth Carolina, 2EEF https.88""".google.com8url7 saGtArctG(A&GAesrcGsAsourceG"ebAcdGHAvedGECEc4>(ADAurlGhttp I3AI2>I2>""".yesterdaysclassics.comI2>previe"s I2>hydeJgreekJprevie".pdfAeiGoK0 0&6#O=$CyA6%2CDH+gAusgGA >4(CD6e3L"JEpLe/e2uMD/s0vg,@2c%ggAbvmGbv./EM/2/M3,d.a)c

g5 $uerber, 6.A. Myths of Greece and Rome, De" Cork American +ook Company, 1M21 http.88""".gutenberg.org8files83M2/E83M2/E'h83M2/E' h.htm

25 >or #tudents

a5 $reek !yths for kids in both print and audio

http.88""".storynory.com8category8educational'and'entertaining' stories8greek'myths8 b5 !"ingo for kids No Sons A Superhero Tale of Africa http.88""".aaronshep.com8stories8E/N.html c5 +illy $ambela Afri'Asiatic Anthropology +log9 Archive for the 6orn of Africa pictures http.88billygambelaafroasiaticanthropology."ordpress.com8category8horn' of'africa8 d5 heoi $reek !ythology The Tro!an "ar # $attle %f Akhilleus & Memnon picture http.88""".theoi.com8$allery8 1M.1E.html heoi $reek !ythology 'ermes (sykhostasia & Memnon picture http.88""".theoi.com8$allery8*11.1H.html (sykhostasia =icture http.88""".bea,ley.ox.ac.uk8dictionary8Dict8image8psychostasia.(pg )orld Koice Day Digeria 2E13. I(ala performance by !ayo"a example of modern I(ala http.88""".youtube.com8"atch7vG)#sE%)D2vD0 I(ala http.88""".youtube.com8"atch7vG1hkpAD2b-,o

e5
f5

g5

h5 Olobatala reciting Oosa =ipe ' Olobatala recitando Oosa =ipe example of raditional

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SOCIAL SCIENCE

6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan
i5 (5
Aeschylus? Agamemnon :Complete In Ancient $reek5 http.88""".youtube.com8"atch7vGxf n+oaC=#F he Oresteia Agamemnon part 1 http.88""".youtube.com8"atch7 vGONsdO41+DsE http.88""".youtube.com8"atch7vGJfD%Ocgr(EC

k5 Egbe Olode: he 6unters5 at Digeria Independence Day Celebration I(ala l5

+ritish !useum #tory of the ro(an )ar http.88""".britishmuseum.org8explore8youngJexplorers8childrensJonlineJt ours8theJtro(anJ"ar8parisJisJmadeJanJoffer.aspx http.88""".christusrex.org8"""18vaticano8E 2b'Amphora.(pg

m5 =icture of Death of !emnon on Amphora n5 =icture of the death of !emnon Amphora

http.88upload."ikimedia.org8"ikipedia8commons8181N8$reekJ' J6ydriaJ"ithJtheJ>ightJofJAchillesJandJ!emnonJ'J)altersJHF223E.(pg

o5 Eos A the +ody Of !emnon http.88""".theoi.com8$allery8 1M.11.html p5 #hort #tory of !emnon http.88""".maicar.com8$!-8!emnon.html &5 Another #hort #tory of !emnon http.88""".mythindex.com8greek'
mythology8!8!emnon.html 15 Kideo

a5

ro(an 6orse http.88""".youtube.com8"atch7vGM%C$44J&ybC

I7( 'ESOU'CES A. )lassical *ids+ An Activity Guide to ,ife in Ancient Greece and Rome , by -. Carlson +. The Greek Gods, by +. Evslin, D. Evslin, and D. 6oopes C. Monsters of Mythology The Minotaur, by +. Evslin D. Monsters of Mythology (rocrustes, by +. Evslin E. A *aleidoscope *ids $ook of Ancient Greece- ./ 'ands#on Activities to E0perience This "ondrous Age, by A. 6art and =. !andrell >. "hat 1ou 2th Grader Needs To *no3, by E.D. 6irsch, @r. :-esson hree5 $. "orld ,eaders (ericles, by =.#. *ing 6. 'ercules The Man, the Myth, the 'ero, by *. -asky :-esson One5 I. %vid Metamorphoses, by A.D. !elville @. Favorite Greek Myths, by !.=. Osborne :-esson One5 *. "rite Source 4///, by =. #ebranek, K. !eyer, and D. *emper :-esson "o5

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SOCIAL SCIENCE

6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan
Extended ext. All of the follo3ing te0ts are availa5le online for free Excerpts from Story of the Tro!an "ar #ee Appendix 1 Excerpts from Tales of Troy http.88""".gutenberg.org8files81MN381MN3' h81MN3'h.htm see Appendix / Excerpts from The Story of Troy http.88""".gutenberg.org8files81;MME81;MME'h81;MME'h.htm #ee Appendix ; Excerpts from Shades of Memnon http.88""".academia.edu83E3;FE;8#hadesJofJ!emnonJ+ookJ1J eachin gJ$uideJ+yJDr.JClydeJA.J)intersJ=hD Excerpts from The Fall of Troy http.88omacl.org8 roy8book1.html Excerpts from 6uintus Smyrnaeus 4 6ttp.88)"". heoi.Com8 ext84uintussmyrnaeus1.6tml Excerpts from :Kol. I57iodorus Siculus -ibrary Of 6istory http.88penelope.uchicago.edu8 hayer8E8%oman8 exts8DiodorusJ#iculus82A P.html see Appendix H The 8diots Guide to the Tro!an "ar http.88""".idiotsguides.com8static8&uickguides8history8&uick'history'the' tro(an'"ar'and'the'fall'of'troy.html $raphic Organi,ers. Document Analysis template :image5. :http.88""".archives.gov8education8lessons8"orksheets8photoJanalysisJ" orksheet.pdf5 >rayer !odel. http.88""".long"ood.edu8staff8(onescd8pro(ects8educ/3E8aboxley8pdffiles82. pdf #ummari,ing. :http.88teacher.scholastic.com8reading8bestpractices8vocabulary8pdf8srJallg o.pdf5

-earning Activities

eacher "ill meet daily "ith each group to instruct students on specific reading8researching strategies and the skills students "ill need to comprehend the texts for this unit and to complete their assigned tasks. Student Gr%ups "ill conduct discussions, "rite routinely, and report findings discovered through their research groups. eacher explains procedures for participating "ithin their group activities. eacher can use 8fishbowl strategy to demonstrate ho" small groups conduct discussions around texts. :#-.;.15 eacher assigns groups based on varying learning styles and ability levels, paying extra attention to ensure "ell balanced groups. :#-.;.15 eacher provides brief book talk of each extended text and ensures students are comprehending texts. :%6.;.F.1.,%6.;.F.H.5 eacher models ho" to take Cornell notes "hile reading a text. As they<re reading the text, students practice close reading :and other strategies learned during mini'lessons5 to search for and record elements that are essential in identifying their topic8person:s5 uni&ue characteristics and contributions. :%6.;.F.1., %6.;.F.2., %6.;.F.M.5 #tudents meet 2'3 times per "eek in their groups and use their notes to

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SOCIAL SCIENCE

6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan
anchor their discussions and to develop their plans for their final pro(ect. #tudents "rite reflections follo"ing each group meeting. :#-.;.1., #-.;.2.5 0sing the Essential 4uestions as a guide, students "rite summaries of select portions of their selected texts. :)6# .;'F.2., )6# . ;'F.F5 #tudents share the content from their literature circle text "ith the "hole class, so that all students are familiar "ith the diverse texts. :#-;.H5 !ini'lessons8Activities for eaching )riting to Develop and Convey 0nderstanding, Cite Evidence, and to #tudy and Apply -anguage Conventions. :)6# .;'F.N., )6# .;'F.F.5 eacher revie"s guidelines and rubric for =erformance Assessment. $roups "ill present a multimedia presentation on their individual colonial topic accompanied by an individual essay, or alternative "ritten product that communicates ho" African Americans responded to issues brought about "ith the "riting of the 7eclaration of 8ndependence, the concept of personal freedom and liberty as envisioned by free and enslaved African Americans as opposed to the legal and economic freedoms envisioned by the )hite Colonists. :%6.;'F.N, %6.;'F.F, )6# .;'F.N., )6# .;'F.F., )6# .;'F.M., #-.;.H., #-.;./.5 eacher "ill return to the shorter informational texts, as "ell as images :such as photos5, to model ho" to construct the different parts of an informative8explanatory piece, including ho" to introduce a topic, ho" to organi,e the parts of the essay, ho" to use textual evidence to support the essay, "hat other types of evidence should be used as support, ho" to use transitions, etc. :%6.;'F.1., %6.;'F./., %6.;'F.N.5 #tudents "ill use select informational texts, as "ell as images that they<ve gathered, to practice composing each part of the informative8explanatory essay. :)6# .;'F.F5 #tudents "ill spend time gathering evidence for the =erformance Assessment, "hich includes using their notes to list specific evidence from their group readings that can be used for their pro(ect. #tudents "ill also record evidence from the short informational texts that "ere read in and outside of class. :%6.;'F.N., )6# .;'F.F.5 #tudents "ill be engaged in the "riting process, including brainstorming, gathering evidence, drafting, revising, and editing. eacher "ill confer "ith students through independent or guided "riting conferences. :)6# .;' F.H5 Differentiated Strategies for Varied Learning Profiles Informational texts "ill be available in a variety of formats including audio, visual and tactilely. asks "ill have components that allo" for students to use visual, oral and

)eek 1

#tudents "ill be introduced to $reek Epic =oems, -egends and !yths focusing on the forgotten legacy of Africans and their role in the story of the ro(an )ar.

#tudents "ill read texts and investigate $reek art to discover that African and Africans "ere looked on both as proud and e&ual cultures and as heroes to the $reeks and the ro(ans. hey "ere vie"ed as beautiful, cultured and as great "arriors. :#ee -aunch lesson 5

)eek 2'3

he second and third "eeks "ill contain readings and discussions of African and $reek epic poems, legends and myths and a historical perspective of the oral tradition as it applies to both cultures. #tudents "ill voluntarily create and tell original stories based on the norms of African and8or

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6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan
$reek #torytelling. Dorms must be established so that the presenter kno"s "hat is expected of him or her and the audience kno"s "hat is of it. he audience should kno" that it is expected to listen carefully and respectfully to each presenter, and each student is to "rite a summary of each presenter<s tale in his or her notebook. Discuss the African method of telling a story "here each member of the group tells a part of the story. he teacher should then begin telling a story and ten, in turn, ask each student to contribute to the story line until the tale is completed. =oint out to the students that if this original story is to be preserved and told again, it "ould have to be "ritten do"n. ell the students that they "ill "ork in small groups creating and "riting a myth or tale. he presenter should be prepared to tell a myth or tale to the audience. he presenter can retell any of the epic poems, legends and myths or tales studied in class or find a different story. he presenter should speak in a direct, loud voice so that the audience can hear the story. he presenter should use movement and facial and voice expressions "here appropriate to dramati,e the story. he presenter "ill have t"o to five minutes to recite his or her story )hen students are presenting material to each other for the first time, I have found it to be a less anxious experience for the presenter if the desks or chairs are arranged in a circle and the presenter does not have to stand unless he or she chooses to. #tudents or classes "ho en(oy oral speaking may "ish to share their oral presentations "ith other classes9 I "ould suggest that the teacher arrange for the class to go to an earlier grade to present their dramati,ed stories. Other audiences might be senior citi,en centers or convalescent homes. =lease read narrative in Appendix 1 6ave a selection of books containing $reek, %oman, and African epic poems, legends and myths, legends, and folktales. he teacher might "ant to refer to and use some of the techni&ues for oral presentations and storytelling suggested in Kiola #polin<s book, Improvisation for the heater. %evie" the history of the oral tradition as it developed in the ancient cultures of $reece, %ome, and Africa. he teacher could present a dramati,ed version of a myth or folktale, Discuss ho" effective oral presentations tactile as "ell as kinesthetic skills to express kno"ledge gained. #tudents "ill be able to take o"nership of tasks through the use of QChoice +oardsR and Q-earning Centers.R

)eek H '/

#tudents "ill "ork in group a myth or a tale.

#upply the

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6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan
material "ith the varied amount of print, varied text structures and extensive graphic support based on students< instructional levels. 0se videos to enhance comprehensio n through auditory and visual modes. Allo" brief, cooperative brainstorming to activate prior kno"ledge and make predictions. Ad(ust the complexity, abstractness, type of response necessary, and connections re&uired bet"een topics based on readiness and learning profile. Establish clear criteria for success. 0se "ait time before taking student ans"ers. If appropriate, give students a chance to talk to partners or "rite do"n

Discuss the African method of telling a story "here each member of the group tells a part of the story. he teacher should then begin telling a story and ten, in turn, ask each student to contribute to the story line until the tale is completed. =oint out to the students that if this original story is to be preserved and told again, it "ould have to be "ritten do"n. ell the students that they "ill "ork in small groups creating and "riting a myth or tale. Divide the class into groups of four or five members in each group, Direct each group to select a chairperson, a recorder, and a "riter. It should be understood that "hile all members of the group "ill be re&uired to do something, certain members of the group "ill have additional responsibilities. he chairperson is responsible for coordinating the overall efforts of the group and making sure that the group accomplishes its tasks "ithin the allotted times. he recorder is to collect all "ritings completed by the members of the group and the "riter is responsible for the final copy of the group<s story or stories. he "riter does not do all the re"riting himself or herself, but he or she can delegate re"riting assignments to the other members of the group. he teacher can then assign a particular type of myth or folktale to each group or let the group select the type of story it "ould like to create. :#ee =rocedures for Creating a !yth or >olktale 5

Explanation !yth or >olktale 1. Each member of the group is to "rite five &uestion sentences beginning "ith the "ord )hy. Example. )hy is the sky blue7 2. Each member is to share his or her &uestion sentence "ith the group. 3 he group is to select one &uestion sentence and "rite a story explaining the &uestion. H. he group is to present its explanation myth to the class, Each member of the group is to take part in the presentation. II. 6ero !yth or >olktale 1. Each member of the group is to list five people he or she considers a hero, then list the characteristics "hich each hero possesses that make him or her a hero. 2. Each member of the group is to share his or her hero list and. characteristics "ith the group,

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6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan
3. he group is to make up a composite hero and "rite a story "hich describes three adventures of this hero, H. he hero story is to be presented to the class and each member of the group is to take part in telling the story. III. >antasy !yth or >olktale 1. Each member is to "rite a paragraph describing his or her perfect or $olden age. 2. Each member is to read is or her paragraph to the group. 3. he group "riter, "it the help of the other members of the group, is to create a story describing the group<s $olden age. H. he group s story describing the $olden age is to be presented to the class. Each member of the group is to present a part of the story. IK. Animal Epic poems, legends and myths or >olktales 1. Each member of the group is to select a different animal and "rite a paragraph explaining ho" that animal ac&uired its physical characteristics or reputation. 2. Each member of the group is to present his or her animal paragraph to the group. Each member of the group can offer suggestions or ask &uestions each animal story presented. 3. Once each member s story has been read, commented on, revised and re"ritten, the group "riter is to compile into book form all of the group<s animal stories, H. he group is to present its animal stories to the class. Each member of the group is to tell his or her animal story. their ans"ers before responding. =rovide clear guidelines for group functioning that are taught in advance of group "ork and consistently reinforced.

Appendix 1
he third and fourth "eeks "ould contain readings and discussions of African and $reek epic poems, legends and myths and a historical perspective of the oral tradition as it applies to both cultures. he teacher and students "ill engage in reading and telling $reek and African epic poems, legends and myths and legends, comparing and contrasting them. During the final "eeks of the unit, the students "ould be "orking first in groups and then individually creating, "riting and presenting their o"n epic poems, legends and myths or folktales. he ma(ority of the recommended readings "ill be African folktales because experience has sho"n that although students may have been introduced to $reek and %oman

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6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

epic poems, legends and myths and are already familiar "ith some of the more popular stories, they have not read many African tales nor understood the complexity of the African oral tradition. he teacher "ho uses this curriculum should have some information and background on African epic poems, legends and myths. he teacher, being informed about ho" the epic poems, legends and myths operated "ithin the tribal societies of Africa, "ill be better able to guide the learning of the students. >or that reason, this unit "ill provide information about the content of various epic poems, legends and myths and a brief history of the development of the oral tradition in Africa. >or those "ho are short of resources "ill find some attached. :#ee Appendix 25 here is al"ays a large stock of books on $reek epic poems, legends and myths in school bookrooms and libraries. >or the purposes of this unit, any of the $reek or %oman epic poems, legends and myths could be read and discussed. One of the most important topics for this unit is the ro(an )ar and several versions have been added as resources. he epic poems, legends and myths recommended are $reek and "hich contain obvious points of comparison "ith the suggested readings from African tales. he suggested readings include+ (andora, )upid and (syche, Atalanta, (haethon, and 'ercules. >or students reading belo" grade level, t"o good sources for the Odyssey are 6enry I. Christ<s The %dyssey of 'omer and #cholastic #cope s dramati,ation of the Odyssey entitled The 'omecoming of 9lysses "hich appeared in their >ebruary H, 1MF3 edition. It "ill be more of a challenge for the teacher to provide African epic poems, legends and myths and tales for class reading because so fe" African myth anthologies are available. here are t"o "ays to present African tales. >irst, the teacher might read and familiari,e himself "ith African stories and, in the true oral tradition, tell these stories to the students, "ho "ill "rite the stories as they heard them in their notebooks. his method of presentation gives the students the opportunity to make their o"n books on African tales and they "ould observe ho" a story changes from the oral presentation to the "ritten version. Another method of presentation "ould be to have available in the classroom a collection of African epic poems, legends and myths, legends and folktales garnered from public and school libraries and other sources. Each student "ould be responsible for reading and presenting a myth to the class and each student "ould "rite in his or her notebook the epic poems, legends and myths and stories as he or she heard them. )hichever method the teacher selects, the ob(ect is to have the students become familiar "ith a variety f African epic poems, legends and myths folktales "hich they can compare "ith the $reek9 and %oman epic poems, legends and myths and folktales. It has been estimated that there are over seven thousand African epic poems, legends and myths, legends and folktales. In order to understand "hy there are so many African tales, it is important for students to reali,e that Africa is the second largest continent in the "orld and is inhabited by over forty'six clans or tribes. here are an estimated FEE to 1,EEE different languages spoken in Africa. In spite of the largeness of the continent, the many clans and languages, African epic poems, legends and myths and folktales have much in common. All African epic poems, legends and myths and folktales "ere developed in the oral tradition. %ight up to the present time, African epic poems, legends and myths and legends "ere verbally handed do"n from one generation to the next. he oral tradition has existed on the African continent longer than on any other. -ong before 6omer and the earlier $reek poets, long before the coming of Europeans to Africa, and long before the development of "riting, Africans expressed their feelings, beliefs and thoughts orally. +oth African and $reek epic poems, legends and myths and legends developed from an oral tradition but there are differences in the "ays they evolved. he oral tradition in Africa preceded the oral tradition in $reece and it "as developed for different purposes. During the time of 6omer, the $reeks had a social structure "hich allo"ed them much leisure time9 so storytelling "as a popular entertainment, he people "ho could spellbind their audiences by telling a story "ere much in demand and much honored, he art of telling a tale and the stories themselves "ere developed for art s sake, he storyteller, or bard, in $reece could live "ell on the gifts besto"ed upon him because of his talent. Africans living during the same period did not have a social structure "hich allo"ed much time for leisure. he clans "ere not very

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6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

large, and everyone had to become involved in the day'to'day tasks "hich made survival possible. Each tribesman or "oman "as busy, either tending the crops, hunting, protecting the village, or cooking. #torytelling "as developed for very pragmatic reasons. >or example, in the Coruba clan of Digeria, i(ala is the speech'like song "hich is part of their oral literature. It is chanted by talented men and "omen at religious ceremonies, Other occasions of i(ala chanting are during periods of hard "ork by farmers on their farms, I(ala then serves the purpose of music'"hile'you'"ork, cheering the farmer, making him "ork faster and longer and helping to make his "ork not a burden, but a delight for him. be it removal of "eeds, the clearing of a fresh plot in the forest, the making of soilmounds "ith the hoe, the harvesting, of crops, or the tapping of the palm trees for "ine.1 #torytelling "as believed to "ard off evil spirits, help crops gro" better and keep clan members healthy. ales about tribal ancestors "ere told to elicit help from their spirits. hese are but a fe" of the practical reasons for storytelling in Africa. At this point in their history, the art of storytelling had not become art for art s sake. $reeks and Africans living during the time of 6omer had different "ays of presenting their oral literatures. In African storytelling, the audience often told the story. >or instance, one person "orking in the field "ould start the tale and because everyone "as familiar "ith the story, each person in turn "ould add a part to the story until it "as completed. )hen 6omer or any other $reek or %oman storyteller recited his tale, he "ould sometimes be accompanied by a lute, but music "as not a ma(or part of the $reek or %oman oral tradition. %attles, drums, bells, dancing, handclapping, and singing "ere an integral part of the African oral tradition. he follo"ing is a description of the performance of an African epic. Episode by episode, the epic is first sung, then narrated. )hile singing and narrating, the bard dances, mimes, dramatically represents the main peripeties :is a reversal of circumstances, or turning point5 of the story. In this dramatic representation, the bard takes the role of the hero. he normal musical accompaniment consists of a percussion stick :nk"angatiro5 "hich, resting on a fe" little sticks so as to have better resonance, is beaten by three young men. hey kno" large fragments of the epic, and, "henever necessary, help the bard to remember and to find the thread of his story. he narrator himself shakes the calabash rattle and carries anklet bells. !embers of the audience sing the refrains of the song and repeat a "hole sentence during each short pause made by the bard. . . !embers of the audience also encourage the reciter "ith short exclamations and handclapping or "hooping. 2 Audience participation and musical and rhythmical accompaniment are the essential elements of African oral literature "hich distinguishes the African oral tradition from the $reek and %oman oral traditions. Clans relied upon the memories of the older members of their groups to recite and perform the clan<s folklore. his person became the clan historian and he or she "ould recite the history of the clan and sing the praise names of the chief. Each clan had a different title for its historian. !issionaries and other Europeans "ishing to compile African epic poems, legends and myths, legends and folktales spoke to the historians of the clans. he performance of folklore "as an avocation rather than a profession. Individuals "ho tried to make a living by reciting and chanting histories or folklores "ere regarded as no better than beggars. Anthropologists and historians have been trying to explain the differences and similarities bet"een the epic poems, legends and myths and legends of different cultures. It is generally thought that peoples living in the same age and faced "ith similar social problems expressed themselves in similar "ays in their stories. he differences occur because of differing geographic conditions. $eography can account for the fact that there are numerous $reek and %oman epic poems, legends and myths and only a fe" African epic poems, legends and myths. It is believed tat the Africans had as many epic poems, legends and myths in the beginning of their oral tradition as the $reeks and %omans. $reeks, %omans and other "estern European cultures "rote do"n the epic poems, legends and myths in H/ +.C. and therefore preserved them in their original form. Africa did not have a "ritten record of their earliest epic poems, legends and myths and the epic poems, legends and myths "hich did exist at that early period have evolved into fables or animal'novelettes. he art of "riting "as unkno"n in Africa. his "as due, not to

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6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

any African inability, but simply to geographical isolation. Desert, forest and sea "ere effective barriers to the spread of "ritten culture until modern times. )hile the number of epic poems, legends and myths from the African and $reek cultures may differ, both cultures had a similar concept of the beginning of history. +oth cultures refer to a $olden age. During the $olden age, the earth needed no cultivation, there "as no "ar, and man lived "ithout sorro", rich in flocks and free from toil. he $reek concept of the $olden age appears in 6esiod<s "orks and 7as and in books one and fifteen of Ovid<s !etamorphoses. In one African myth entitled he #eparation of $od from !an, l the end of the $olden age is explained. According to this myth, the earth and the sky "ere connected. !an did not have to gro" crops. 6e simply reached into the sky and took the foods he needed from the sky god. +ut man abused this privilege by taking more food than he needed. 6e "asted much of the food, and this angered the sky god. he sky god "as further angered "hen the "omen of the village "ould constantly hit the sky and cause huge chunks of it to fall "hen they "ere pounding the fufu to make bread, >or that reason, the sky god moved his domain a"ay from earth, -ike he #eparation of $od from !an, l most of the African epic poems, legends and myths illustrate the geocentrism of the African people. Africans are earthbound. heir lands and the earth are very real. In most of their epic poems, legends and myths man does not ascend to the sky, but the sky god descends to earth. he sun and the moon "ere once on earth. i Another African myth depicts the "ater and the sun "ith his "ife, the moon, living on earth. hey "ere great friends, he sun "as al"ays visiting the "ater, but the "ater "ould never return these visits. )hen the sun asked the "ater "hy he never visited him, the "ater replied that the sun s house "asn<t big enough and if the sun "anted him to visit, the sun "ould have to build a very large yard, he sun "ent home and told his "ife, the moon, "hat the "ater had said, he next day the sun built a huge yard so that his friend, the "ater, could visit. )hen the yard "as completed, the sun invited the "ater. he "ater, accompanied by the fish and other "ater animals, began to flo" in, 6e soon filled the yard and the "ater asked the sun if he still "anted him to visit. he sun replied, Qyes.R !ore "ater and "ater creatures flo"ed in. he "ater "as no" up to the sun<s head. Again the "ater asked the sun if he "anted the "ater to visit him, and the sun, not kno"ing any better, replied, QCes.R he "ater continued to flo" until the sun and the moon had to perch on their roof. he "ater asked the same &uestion and received the same ans"er, )hen the "ater overflo"ed the roof, the sun and the moon "ere forced to go up into the sky. here they have remained ever since. he +ushmen myth entitled Q he #un and the ChildrenR depicts the sun living on earth. In this myth the sun is Iying on the ground and the children, "ho are the heroes of the myth, are being admonished by their mother to lift up the sun<s armpit. Children, she says, you must "ait for the sun "ho is making us so cold, to lie do"n to sleep. hen approach him gently and, all together, lift him up and thro" him into the sky. he three epic poems, legends and myths summari,ed in these t"o paragraphs can be found in the book African Folktales, edited by =aul %adin. After reading several African epic poems, legends and myths certain similarities in the stories "ill become evident. he African epic poems, legends and myths simply and succinctly express (oy in life and human activity. hese epic poems, legends and myths, legends, and folktales reinforce the "orld affirming belief that life on earth is good. !an is depicted as completely and inextricably anchored in this "orld. here is stark realism in African epic poems, legends and myths. !an is sho"n in all his moods. he pleasant and not so pleasant aspects of daily life are told. )hile there is the tale of *intu "ho undergoes many tests to obtain the "oman he loves, for the most part there is little romanticism or sentimentality found in African epic poems, legends and myths. 0nlike the $reeks and %omans "ho have many epic poems, legends and myths and legends concerning the numerous virtues of a hero or demigod, African epic poems, legends and myths rarely depict the heroic deeds of one man. he African culture stresses the importance of the group over the individual. he individual is only important to the extent that he or she benefits the group. In fact, if the individual has a fault, the "hole group suffers. >or example, in one African myth the foolish king indulged the "ishes of his greedy son and brought ruin to himself, his land, and the country "as turned into ashes and dust. African societies do not deny the existence of individuals< traits, but re&uire that these be sub(ugated to

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the best interests of the group. he individuals celebrated in the African folktales and legends are those "ho have earned recognition because of their relationship "ith the group. he &ualities praised in the hero of a tale are those that are successful in furthering the overall interests of the clan, here is one African epic about a hero named !"indo. his epic is told in many parts of Africa. he most complete and poetic version of the !"indo story is heard in !yanga country "hich is in the eastern part of Oaire, he !"indo epic has all the characteristics of a $reek or %oman epic. his epic could be compared to 6omer<s %dyssey or the tales of 6ercules. he hero, !"indo , has a miraculous birth, and he is a great hunter. 6is story depicts supernatural beings and the metamorphoses of human beings. !"indo<s travels take him to the under"orld. !"indo has a celestial (ourney "here he is lifted into the sky and returned to earth by lightning after an adventurous year. he hero also possesses magical po"ers "hich enable him to perform 6erculean tasks. All of the elements of the !"indo epic can be discussed and compared to the trials of Odysseus or his son, elemachus. And the feats of the African hero !"indo can be compared "ith those of 6ercules. $od is the #upreme +eing in most African epic poems, legends and myths. Different Clans have different names for their supreme being. here are lesser gods and ancestors "ho are believed by Africans to play influential parts in their lives and therefore these lesser gods and ancestors spirits appear in African epic poems, legends and myths. African peoples see themselves in the center of a triangle "ith the #upreme +eing at the top of the triangle, the lesser gods in the left part of the triangle and the ancestor spirits and the tribal medicine man occupying the right part of the triangle. African man spends his life trying to maintain a balance of all the influential po"ers in the triangle and African epic poems, legends and myths often depict this struggle. he names given to the #upreme +eing in African epic poems, legends and myths represent "hat men think of his character and attributes. 6e is called Creator, !oulder, $iver of breath and souls, and $od of Destiny. he #upreme +eing is given such nature titles as he +o" in the #ky, he One )ho hunders, and he >ire'lighter. he divine greatness of the #upreme +eing is indicated by such names as Ancient of Days, he -imitless, he >irst, he One )ho +ends Even *ings, 6e )ho $ives and %ots, he One )ho Exists of 6imself, and he One Cou !eet Every"here. $od is also called he One )ho +esets. If there "as great suffering in an African<s life, he or she "ould appeal to the medicine man in the village. If he could not stop the suffering or explain the cause of the suffering, the afflicted man or "oman "ould appeal to the #upreme +eing "ho is called he Ordainer of 6uman -ives. he Chaga people of *enya tell a story about a man "hose sons had all died and the father, being angry "ith $od, "ent to the blacksmith to have the blacksmith make him the finest arro"s. his Chaga man "as going to shoot $od. he man travelled to the farthest edge of the earth to the place "here the sun rises. here he stood "aiting for sunrise. =resently the Chaga man heard footsteps and people shouting that the gate must be opened for the king. he man sa" a throng of shining people and he hid himself in fear. he #hining One "as in the midst of the others. #uddenly the procession stopped because the shining people smelled the horrible stink of an earth man. hey found the Chaga man and brought him before $od. $od already kne" that the man "anted to shoot him so the $od bade the man to shoot him. he man refused to shoot $od. $od, "ho already kne" that the man "anted his sons, told the Chaga man that if he "anted his sons he could take them as the sons "ere standing right behind him. he man sa" his sons but they "ere so radiant that he hardly kne" them. he man did not take his sons because he felt they belonged to $od. $od told the man to return home and on his "ay home he must look carefully and he "ould find something that "ould please him very much. On the road home, the Chaga man found a cache of elephant tusks "hich made him rich for life. 6e married and had other sons "ho lived to support him in his old age. -ike this tale, other African tales of visits to $od usually contained a promise of good fortune if the #upreme +eing<s "ishes "ere follo"ed, he most popular and prevalent of all the African stories are the animal fables. he African has al"ays been in close touch "ith the animal "orld so that it is natural for them to create stories about animals. he Africans pro(ect human feelings on to the animals in the tales, he personifications of the animals reveal

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the attitudes and actions of men "hich are praised or condemned. hese animals are characteri,ed as being "ise, cunning, deceitful, greedy, (ealous, kind, or treacherous, here are many fables about the leopard, the python, the goat, the tortoise, the hare, the chameleon, and the elephant. +ut, the most popular of all the animal tales are the stories about the spider called Anansi. 6e is the cleverest of animals and he appears in many African epic poems, legends and myths. In some of the stories about Anansi, he proves to be smarter than the gods, he $reeks and %omans also had tales about animals. !any of the animal stories are found in Ovid<s Metamorpheses. here is the story of the cro" in +ook II, lines /HE';//, and the story of =icus "ho is changed into a "oodpecker in +ook LIK, lines 32E to HEE. here are many points of comparison bet"een the epic poems, legends and myths, legends and tales of the $reek, %oman, and African cultures. he background information on the African oral literature and oral tradition "ill help the teacher guide the learning experiences of his or her students. As the students become familiar "ith the elements of comparison, they "ill begin to discover more and more similarities and differences bet"een these ancient cultures. In order to provide the students "ith a geographical perspective, I have included a map of Africa "hich sho"s the locations of some of the African clans. >inding the locations of the clans "as not an easy task because the names of the African countries are changed fre&uently. >or example, one clan "as -ocated in the Congo %epublic "hich is no" called Oaire. he students could dra" their o"n maps of Africa and include them in their mythology notebooks. Earlier in this unit I named some $reek stories that could be read and compared "ith African stories. +oth cultures have many stories about people "ho "ere excessively (ealous or curious. he story of )upid and (syche depicts the (ealousies of Aphrodite and (syche:s sisters. he African story called The ;uarrel 5et3een %ya and %shun, "hich can be found in Courlander<s Tales of 1oru5a Gods and 'eroes, depicts the (ealousy bet"een the chief s t"o "ives. 6uman curiosity can cause all kinds of problems for humans as noted in the $reek story (andora, and the African story Shango and the Medicine of Eshu "hich can be found in Courlander<s Tales of 1uro5a Gods and 'eroes. hese suggested readings and comparisons should get the teacher and his or her students started on a fascinating experience of learning about myth connections.

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Appendix 2

6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

6as your curiosity ever got you into trouble7 6ave you ever been so desperate to kno" a secret that you took no notice of a "arning7 All through history there are stories of people being told not to open doors, caskets, cupboards, gates and all sorts of other things and, in so many of the stories, the people (ust did not listen. One person "ho did not listen "as =andora. 6er story comes from Ancient $reece and her curiosity brought a "hole heap of troubleS Another person "ho (ust did not listen "as Oya. 6er story comes from )est Africa and her curiosity brought a "hole heap of trouble too.

#hango and the !edicine of Eshu

=andora<s +ox

he orisha #hango ruled firmly over all of Oyo, the city and the lands that surrounded it. 6e "as a stern ruler, and because he o"ned the thunderbolt the people of Oyo tried to do nothing to displease or anger him. 6is symbol of po"er "as a double'bladed axe "hich signified, T!y strength cuts both "ays,T meaning that no one, even the most distant citi,en of Oyo, "as beyond reach of his authority or immune to punishment for misdeeds. he people of Oyo called him by his praise name, Oba @akuta, the #tone hro"er Oba. +ut even though #hango?s presence "as felt every"here in Oyo, and even beyond in other kingdoms, he "anted something more to instill fear in the hearts of men. 6e sent for the great makers of medicine in Oyo and instructed them to make (u(us that "ould increase his po"ers. One by one the medicine makers brought him this and that, but he "as not satisfied "ith their "ork. 6e decided at last to ask the orisha Eshu for help. 6e sent a messenger to the distant place "here Eshu lived. he messenger said to Eshu. TOba @akuta, the great ruler of Oyo, sends me. 6e said. ?$o to the place "here the reno"ned Eshu stays. ell him I need a po"erful medicine that "ill cause terror to be born in the hearts of my enemies. Ask Eshu if he "ill make such a medicine for me.? Eshu said. TCes, such a thing is possible. )hat kind of po"er does #hango "ant7T he messenger ans"ered. TOba @akuta says,

6as your curiosity ever got you into trouble7 6ave you ever been so desperate to kno" a secret that you took no notice of a "arning7 All through history there are stories of people being told not to open doors, caskets, cupboards, gates and all sorts of other things and, in so many of the stories, the people (ust did not listen. One person "ho did not listen "as =andora. 6er story comes from Ancient $reece and her curiosity brought a "hole heap of troubleS In ancient $reece there "ere t"o brothers named Epimetheus and =rometheus. hey upset the gods and annoyed the most po"erful of all $ods, Oeus, in particular. his "as not the first time humans had upset Oeus, and once before, as punishment, he had taken from humans the ability to make fire. his meant they could no longer cook their meat and could not keep themselves "arm. 6o"ever, =rometheus "as clever and he kne" that, on the Isle of -emnos, lived 6ephaestos, the blacksmith. 6e had a fire burning to keep his forge hot. =rometheus travelled to -emnos and stole fire from the blacksmith. Oeus "as furious and decided that humans had to be punished once and for all for their lack of respect. Oeus came up "ith a very cunning plan to punish the t"o brothers. )ith the help of 6ephaestos, he created a "oman from clay. he goddess Athene then breathed life into the clay, Aphrodite made her very beautiful and 6ermes taught her ho" to be both charming and deceitful. Oeus called her =andora and sent her as a gift to Epimetheus.

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6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

'!any makers of medicine have tried to give me a po"er that I don?t already have9 +ut they do not kno" ho" to do it. #uch kno"ledge belongs only to Eshu. If he asks "hat I need, tell him it is he alone "ho kno"s "hat must be done. )hat he prepares for me I "ill accept.T Eshu said. TCes, "hat the ruler of Oyo needs, I shall prepare it for him. In return he "ill send a goat as sacrifice. he medicine "ill be ready in seven days. +ut you, messenger, do not come back for it yourself. -et #hango?s "ife Oya come for it. I "ill put it in her hand.T he messenger "ent back to Oyo. 6e told #hango "hat he had heard from Eshu. #hango said, TCes, I "ill send Oya to receive the medicine.T On the seventh day he instructed Oya to go to the place "here Eshu "as living. 6e said. T$reet Eshu for me. ell him that the sacrifice "ill be sent. %eceive the medicine he has prepared and bring it home &uickly.T Oya departed. #he arrived at the place "here Eshu "as living. #he greeted him. #he said. T#hango of Oyo sends me for the medicine. he sacrifice you asked for is on the "ay.T Eshu said. T#hango asked for a great ne" po"er. I have finished making it.T 6e gave Oya a small packet "rapped in a leaf. 6e said. T ake care "ith it. #ee that #hango gets it all.T Oya began the return (ourney, "ondering. T)hat has Eshu made for #hango7 )hat kind of po"er can be in so small a packet7T #he stopped at a resting place. As Eshu had presumed she "ould do, Oya un"rapped the packet to see "hat "as inside. here "as nothing there but red po"der. #he put a little of the po"der in her mouth to taste it. It "as neither good nor bad. It tasted like nothing at all. #he closed the medicine packet and tied it "ith a string of grass. #he "ent on. #he arrived at Oyo and gave the medicine to #hango. 6e said. T)hat instructions did Eshu give you7 6o" is this medicine to be used7T Oya "as about to say, T6e gave no instructions

6is brother =rometheus had "arned him not to accept any gifts from the gods but Epimetheus "as completely charmed by the "oman and thought =andora "as so beautiful that she could never cause any harm, so he agreed to marry her. Oeus, pleased that his trap "as "orking, gave =andora a "edding gift of a beautiful box. here "as one very, very important condition ho"ever, that she must never opened the box. =andora "as very curious about the contents of the box but she had promised that she "ould never open it. All she could think about "as9 "hat could be in the box7 #he could not understand "hy someone "ould send her a box if she could not see "hat "as in it. It seemed to make no sense at all to her and she could think of nothing else but of opening the box and unlocking its secrets. his "as (ust "hat Oeus had planned. >inally, =andora could stand it no longer. )hen she kne" Epimetheus "as out of sight, she crept up to the box, took the huge key off the high shelf, fitted it carefully into the lock and turned it. +ut, at the last moment, she felt a pang of guilt, imagined ho" angry her husband "ould be and &uickly locked the box again "ithout opening the lid and put the key back "here she had found it. hree more times she did this until, at last, she kne" she had to look inside or she "ould go completely madS #he took the key, slid it into the lock and turned it. #he took a deep breath, closed her eyes and slo"ly lifted the lid of the box. #he opened her eyes and looked into the box, expecting to see fine silks, go"ns or gold bracelets and necklaces or even piles of gold coins. +ut there "as no gleam of gold or treasure. here "ere no shining bracelets and not one beautiful dressS he look of excitement on her face &uickly turned to one of disappointment and then horror. >or Oeus had packed the box full of all the terrible evils he could think of. Out of the box poured disease and poverty. Out came misery, out came death, out came sadness ' all shaped like tiny bu,,ing moths.

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6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

"hatever.T As she began to speak, fire flashed from her mouth. hus #hango sa" that Oya had tasted the medicine that "as meant for him alone. 6is anger "as fierce. 6e raised his hand to strike her but she fled from the house. #hango pursued her. Oya came to a place "here many sheep "ere gra,ing. #he ran among the sheep thinking that #hango "ould not find her. +ut #hango?s anger "as hot. 6e hurled his thunderstones in all directions. 6e hurled them among the sheep, killing them all. Oya lay hidden under the bodies of the dead sheep and #hango did not see her there. #hango returned to his house. !any people of Oyo "ere gathered there. hey pleaded for Oya?s life. hey said. T$reat #hango, Oba of Oyo, spare Oya. Cour compassion is greater than her offense. >orgive her.T #hango?s anger cooled. 6e sent servants to find Oya and bring her home. +ut he still did not kno" ho" Eshu intended for him to use the medicine. #o "hen night came he took the medicine packet and "ent to a high place overlooking the city. 6e stood facing the compound "here he lived "ith all his "ives and servants. 6e placed some of the medicine on his tongue. And "hen he breathed the air out of his lungs an enormous flame shot from his mouth, extending over the city and 0niting the stra" roofs of the palace buildings. A great fire began to burn in Oyo. It destroyed #hango?s houses and granaries. he entire city "as consumed, and nothing "as left but ashes. hus Oyo "as leveled to the ground and had to be rebuilt. After the city rose again from its ashes, #hango ruled on. In times of "ar, or "hen his sub(ects displeased him, #hango hurled his thunderbolts. Every stone he thre" "as accompanied by a bright flash that illuminated the sky and the earth. his as all men kne", "as the fire shooting from #hango?s mouth he sheep that died "hile protecting Oya from #hango?s thunder' stones "ere never forgotten. In

he creatures stung =andora over and over again and she slammed the lid shut. Epimetheus ran into the room to see "hy she "as crying in pain. =andora could still hear a voice calling to her from the box, pleading "ith her to be let out. Epimetheus agreed that nothing inside the box could be "orse than the horrors that had already been released, so they opened the lid once more. All that remained in the box "as 6ope. It fluttered from the box like a beautiful dragonfly, touching the "ounds created by the evil creatures, and healing them. Even though =andora had released pain and suffering upon the "orld, she had also allo"ed 6ope to follo" them.

ext only version http.88myths.e2bn.org8mythsandlegends8textonly/;2 'pandoras'box.html

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6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

their honor, the "orshippers of Oya have refused to eat mutton even to the present day.

ADAD#I *"eku Anansi :or Ananse5 is the son of the Asanti :Ashanti5 god called Dyame. Dyame the great sky god, turned Anansi into a spider'man. 6e created life and death. Once death used venom to overcome Dyame. Dyame used an antidote to combat death?s venom9 therefore, he has eternal life. A part of Dyame?s eternal spirit "as placed into the human soul or TkraT. herefore, this kra also cannot die. Additionally, Dyame is kno"n as Ananse *okuroko, "hich means he $reat #pider or he $reat Designer. Dyame allo"s Anansi to bring rain, especially to &uench forest fires. It is also Anansi "ho determines the borders of oceans and rivers "hen they flood. Anansi is so famous that he is credited "ith creating the sun, moon, stars, night, day and the first man in "hom Dyame breathed life. 6e sho"ed humans ho" to plo" and so" grain. 6is "e5 of ,ife inspired humans by sho"ing them ho" to "eave and ho" to construct houses. he "eb also sho"ed human beings ho" to link themselves together in order to form a society. he "eb is also a symbol of the life'giving sun. Anansi?s first name, *"eku. 6is mischief had infuriated Dyame one time too many and for this final transgression Dyame permanently turned his son into a small spider'man. >rom that time for"ard, Anansi the spider'man had to use his mental skills to survive. 0ndaunted by his fate, Anansi rose to become the T*eeper Of All #toriesT. 6e is the hero of children and the champion of the little guy and the po"erless. -ike them, he often gets in trouble and must use his intelligence to save himself.

A%AC6DE ... "as a skilled "eaver in $reek mythology. #he boasted that she could "eave fabrics more beautiful than those "oven by Athena, the goddess of arts and crafts. Athena, disguised as an old "oman, "arned Arachne not to be so boastful. )hen Arachne scorned her advice, Athena revealed herself as a goddess and accepted Arachne?s challenge to a "eaving contest. Athena "ove a tapestry that pictured mortals being punished by the gods for their pride. Arachne?s "ork sho"ed the shocking misbehavior of gods and goddesses. )hen Athena sa" that Arachne?s "ork "as as beautiful as her o"n, the goddess angrily ripped the fabric. As Arachne attempted to hang herself in terror, Athena took pity on her and transformed her into a spider. Arachne?s skill survived in the spinning of "ebs by spiders.

Anansi and the 9am !ills

he !yth of !idas

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by !ichael Auld

6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

Once in a before time, there lived an old "oman "ho had magical po"ers. 6er name "as 1. #he "as also so evil that some people called her a "itch. 1 hated her name. Do one kno"s "hy her parents named her the number 1( )hen she "as a child, other children "ould make fun of her name. #ometimes "hen she "as "ithin earshot, they "ould look out the corner of their eyes and giggle as they said. $ive me 1ST ,hen she gre" up, 1 decided to put an end to the name'calling. #o, she created a "eird spell. TAnyone "ho says ?1? "ill drop dead,R she said. hen she changed her mind. Q>rom this day on, anyone "ho says U1 "ill disappear,T his spell immediately caused a problem in the country. Do one could say that number again "ithout disappearing. Children could no longer recite their five times tables. =eople had to drop the "ord ?five? from their vocabulary. In 1s village, the unlucky number "as no longer +:. Once, a customer asked a merchant, Q6o" much is that blue 'shirt7R Q hat shirt is 1 doh... R #uddenly there "as a loud QS,OOS!;R before the merchant could finish his sentence. 6e disappeared right in front of the dumbfounded customer?s eyesS A crafty spider named Anansi lived in 1?s village. 6e had heard about the "itchs spell. imes "ere very hard. Anansi "as not a farmer and he had no food at all to eat. 6is "ife and children "ere starving. #ince Anansi "as small, and not a very good "orker, he could only rely on his brain to get "hatever he needed to survive. 6e said to himself. T hings are tough, boyS I must make this "itch?s spell "ork for meT. Anansi "ent to the road that led to the village?s marketplace. 6e chose a spot on the side of the road "here everyone on the "ay to market "ould have to pass. here, near a large $uangu tree, he decided to pile up five mounds of the rich bro"n soil. hese mounds he called Tyam hillsT. In the top of each yam hill, he planted an African yello" yam. hen he drove a stake next to the yam on "hich its vine could gro". Anansi carefully "atered the yams until each one began to sprout. Anansi made a "eb'like a hammock in the $uangu tree and patiently "aited for someone to come by. Early one

!idas "as a king of =hrygia, a region no"adays part of urkey. One day some of his farmhands brought him a satyr they had caught napping in the vineyard. his creature, part man, part goat, still groggy and much the "orse for "ear, had been thoroughly trussed up to keep him from escaping. !idas immediately recogni,ed #ilenus, right'hand satyr to the god Dionysus, and ordered him set free. #ilenus explained that he and his master had (ust returned from the East "here they had been engaged in spreading the cultivation of the grape. Dionysus had brought back a tiger or t"o, an ever' expanding flock of follo"ers and one very drunken satyr. #ilenus had conked out in !idas?s vineyard to sleep it off. Do" he "as grateful to the king for treating him "ith dignity, and so "as Dionysus. he god "as so pleased, in fact, that he offered to grant "hatever !idas should "ish for. Do", you didn?t get to rule a kingdom in those days "ithout a pretty active grasp of "hat makes for a successful economy. !idas didn?t have to think t"ice. As the simplest plan for the constant replenishment of the royal treasury, he asked that everything he touch be turned to gold. Arching a godly eyebro", Dionysus "ent so far as to ask if !idas "ere sure. o "hich the king instantly replied, T#ure I?m sure.T #o Dionysus "aved his pinebranch sceptre and conferred the boon. And !idas rushed back home to try it out. entatively at first, he laid a trembling fingertip upon a bo"l of fruit and then a stool and then a "ooly lambkin. And "hen each of these had been transmuted in a trice into purest gold, the king began to caper about like the lambkin before its transformation. T@ust look at thisST he cro"ed, turning his chariot into a glittering mass of priceless'though'"orthless transportation. T-ook "hat daddy can doST he cried, taking his young daughter by the hand to lead her into the garden for a lesson in making de"y nature gleam "ith a monotonous but more valuable sheen. Encountering unexpected resistance, he s"ung about to see "hy his daughter "as being such a

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6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan
slug. )hereupon his eyes encountered, "here late his child had been, a life'si,e golden statue that might have been entitled TInnocence #urprisedT. T0h oh,T said !idas, and from that point on the uh' oh?s multiplied. 6e couldn?t touch any useful ob(ect "ithout it losing in utility "hat it gained in monetary value, nor any food "ithout it shedding all nutritional potency on its leaden "ay do"n his gullet. In short, !idas came to understand "hy Dionysus had looked askance "hen asked to grant the favor. >ortunately, the god "as a good sport about it. 6e allo"ed !idas to "ash a"ay his magic touch in the river =actolus, "hich ever after en(oyed being reno"ned for its shimmering deposits of gold.

morning, after each yam shoot had poked its head out of a mound, Anansi sat do"n next to his yam hills. #oon, +rother Dog came by on his "ay to the market. Dog balanced a bankra basket of s"eet' smelling fruits on his head as he "alked do"n the road. T$ood morning +rother Dog,T said Anansi in a sugary voice. TI kno" that you are busy, and I feel so stupid. I am not an educated man like you. )ould you help me to count ho" many yam hills that I have planted here7T Anansi asked. TCou should have gone to school to learn ho" to countST +rother Dog said grumpily as he "alked a"ay from Anansi to"ards the market. Anansi climbed up into the $uangu tree and "aited. he next person to come by "as +rother +ull. 6e carried large basket of fruits on his head. T$ood day +ro? +ull.T Anansi said in a sad voice. TCould you (ust spare me one minute7T Anansi begged. T)hat can I do for you, Anansi7T +ro? +ull asked.TI "as a Pyikki and sickly child. #o, my parents did not send me to school. I never learned my A+C?s. I planted all these yam hills... Can you help me to count them7T Anansi said.T+ut, of course AnansiT +ro? +ull replied. TCou have 1, 2, 3, H, 1....T #)OO#6S As he said that number, +rother +ull disappeared into thin air. he basket of s"eet ripe fruits that he had been carrying on his head, fell to the ground. Anansi snatched up the basket of fruits and rushed home to eat them all. <or a long time, Anansi did very "ell tricking some passersby into counting his yam hills. 6e gre" fat from all the baskets of food he had gathered. 6e had tricked +rothers urtle, O"l, !ongoose, 6are, =eenie')allie the firefly, and even the tough +ro? #corpion. !rs. $uinea fo"l "as a nice young mother of ne"ly hatched children. #he could not say ?no? to anyone. #he and her husband shared the chore of selling their produce in the village. hat day it "as her turn to go to the marketplace. #he loaded up her hand basket and headed for the market. As she got closer to the yam hills Anansi "as no"here in sight. @ust as she "as about to pass yam hill number H, Anansi the spider lo"ered himself do"n from his perch in the $uangu tree. 6e called out in his sugary voice. T$ood morning !rs. $uinea >o"l. Could you help me "ith a problem7T TOf course AnansiT. he polite !rs. $uinea >o"l

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said.

6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

TI have these yam hills here, and I don?t kno" ho" to count .."ould you help me... 7 =lease.T Anansi begged. !rs. $uinea >o"l, "ho had seen Anansi trick +ro? #corpion, "alked over to the last yam hill and climbed up on top of it. #he said. QCou have 1 ... 2 ... 3 ... H ... and the one I am standing onT. T)hatS ,hat are y%u d%in&= hat is n%t the 6ay y%u c%unt;T Anansi shouted angrily.T)hat do you mean, Anansi7T !rs. $uinea >o"l said. TI don?t kno" of any number called ?the one I?m standing on?. #tart againSR Anansi ordered. !rs. $uinea >o"l began again. TCou have 1, 2, 3, H ... and the one I am standing onT. T hat is n%t 6hat y%u are supp%sed t% say;T Anansi shouted even more angrily. T)ell ... If you are so smart... )hat am I supposed to say7T !rs. $uinea >o"l asked. Anansi shouted, T9%u are supp%sed t% say +, 2, :, 0, 1 ... OopsVR#uddenly, Anansi disappeared, leaving !rs. $uinea >o"l "ith all the loot that he had gotten from tricking his victims.

Attachment 1 8See hin/ ,%nder> Step +( O?ser3ati%n 8See> A. #tudy the image for 2 minutes. >orm an overall impression, then examine individual items. Dext, divide the image into &uadrants and study each section to see "hat ne" details become 021

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visible.

6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

+. 0se the chart belo" to list people, ob(ects, and activities you see in the image. Cou can "ork individually or ans"er as a group. =eople Ob(ects Activities

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6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

Step 2( Inference Q hinkR +ased on "hat you have observed above, list three things you might infer from this image. )hat does it make you think7 JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ J JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ J JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ J

Step :( Questi%ns 8,%nder> A. )hat &uestions does this image raise in your mind7 )hat do you "onder about7 JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ J JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ J

+. +rainstorm some possible places "here could you find ans"ers to your &uestions7 JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ J JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ J

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