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

THEME: Culture, Dignity, and IdentityCONCEPT: Everything Out of AfricaThe impact and legacies of Early African peoples, cultures, and kingdoms

CONTENT TOPIC: 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.

UNIT TITLE: The African influence on the Mediterranean world

Unit Description: Students will 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 Greek and Roman art and culture. In this inquiry-based unit students will examine the role of Africans in the Greek culture through investigating the epic tales of the Trojan Wars, discovering that it was not just Greeks and Trojans who were involved but also Ethiopians and the Great King Memnon. By reading ancient Greek accounts, and the depiction of the Ethiopians and Their King in Greek Art, students will find that Africa and Africans played a key role in this amazing story and that the only reason we have never heard of King Memnon is through the choices of texts used to tell the story. Students will also be able to compare and contrast African and Greek Myths, Legends and Epic Stories.

Length of Unit: 5 WeeksEnduring Understandings

1. History: Events and actions of the past affect the present and the future.2. Identity: Global societies create varied cultural perspectives, contributions, and challenges.3. Geography: Movement and migration of people and ideas affect the past, present, and future.

Essential Questions Guiding Essential Questions: I) How do culture and identity influence who we are? II) How do time, culture and history influence works of art and/or the advancement

of science and technology? III) What can I do to positively impact my community?

Common Core Standards

Reading

RH.6-8.1. Cite specific textual evidence to support analysis of primary and secondary sources.

RH.6-8.2. Determine the central ideas or information of a primary or secondary source; provide an accurate summary of the source distinct from prior knowledge or opinions.

Writing

WHST.6-8.7. Conduct short research projects to answer a question (including a self-generated question), drawing on several sources and generating additional related, focused questions that allow for multiple avenues of exploration.

WHST.6-8.8. Gather relevant information from multiple print and digital sources, using search terms effectively; assess the credibility and accuracy of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and

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

following a standard format for citation.

WHST.6-8.9. Draw evidence from informational texts to support analysis reflection, and research.

Speaking and Listening

SL.6.1. Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 6 topics, texts, and issues, building on others’ ideas and expressing their own clearly.

SL.6.2. Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.

SL.6.4. Present claims and findings, sequencing ideas logically and using pertinent descriptions, facts, and details to accentuate main ideas or themes;use appropriate eye contact, adequate volume, and clear pronunciation.

SL.6.5. Include multimedia components (e.g., graphics, images, music, sound) and visual displays in presentations to clarify claims to clarify information.

Cognitive Skills Executive functions Plan Flexibility: change direction if not working; adopt multiple approaches Strategy use: ability to reflect on strategy and select appropriate strategy

Thinking skills Reasoning about concrete items versus abstract ideas Analyzing/evaluating arguments Developing a logical argument Inductive reasoning: using specific examples/observations 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 Building Knowledge Through Texts African interaction and influence on the Mediterranean world was common and

well known Africans were depicted with pride and dignity in Greek, Roman and Egyptian art The greatness of a culture can be measured in various ways Africa had an immense impact on the world’s many cultures both directly and

indirectlyAssessments

(F) Formative Formative assessments for this unit consist of: Guided Reading and Guided Writing, anecdotal notes, group meeting minutes, frequent checks for accomplishment of group and individual intermediate goals, reflections after each group meeting, summaries of select portions of text, exit slips, and expository writing samples in response to short, informational texts and the accomplishment of several stand-alone projects, which will be a component of the final summative assessment.

(S) Summative Based various texts, students will create a play, story, book, web-page, PowerPoint, Prezi, video or other presentation depicting ancient Greek, Roman or Mediterranean history

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

which address the role of Africans in the development of the Mediterranean world. Each team will be responsible for presenting both oral and visual projects.

Text/Resources

III. BACKGROUND KNOWLEDGE

1) For Teachers

a) Oya's Plan of Treason, https://sites.google.com/site/theyorubareligiousconcepts/oya-s-plan-of-treason shango

b) Africans Contributions to Rome http://www.raceandhistory.com/historicalviews/rome.htm

c) Frank M. Snowden, Jr. on Blacks in the Ancient Greek & Roman World Good resource for teachers to increase their content knowledge https://www.howard.edu/library/special/excellence@howard/snowden/Blacks.htm

d) Image of the Black in Western Art http://dubois.fas.harvard.edu/image-black-western-art-research-project-and-photo-archive

e) Ancient Ethiopia http://www.afrolehar.com/cultural-space/bahil

f) Free PDF of the book by Hyde, Lilian Stoughton, Favorite Greek Myths Yesterday’s Classics, LLC, Chapel Hill, North Carolina, 2008 https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=4&ved=0CEcQFjAD&url=http%3A%2F%2Fwww.yesterdaysclassics.com%2Fpreviews%2Fhyde_greek_preview.pdf&ei=oVUTUqHSOPGCyAHR2YD4Bg&usg=AFQjCNHe3Xw_EpXe5e2u9D5sUvgzJ2cRgg&bvm=bv.50952593,d.aWc

g) Guerber, H.A. Myths of Greece and Rome, New York American Book Company, 1921 http://www.gutenberg.org/files/39250/39250-h/39250-h.htm

2) For Students

a) Greek Myths for kids in both print and audio http://www.storynory.com/category/educational-and-entertaining-stories/greek-myths/

b) Mwingo for kids No Sons! A Superhero Tale of Africa http://www.aaronshep.com/stories/057.html

c) Billy Gambela Afri-Asiatic Anthropology Blog; Archive for the Horn of Africa pictures http://billygambelaafroasiaticanthropology.wordpress.com/category/horn-of-africa/

d) Theoi Greek Mythology The Trojan War - Battle Of Akhilleus & Memnon picture http://www.theoi.com/Gallery/T19.10.html

e) Theoi Greek Mythology Hermes Psykhostasia & Memnon picture http://www.theoi.com/Gallery/K11.14.html

f) Psykhostasia Picture http://www.beazley.ox.ac.uk/dictionary/Dict/image/psychostasia.jpg

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

g) World Voice Day Nigeria 2013: Ijala performance by Mayowa example of modern Ijala http://www.youtube.com/watch?v=WSsERWD2vDU

h) Olobatala reciting Oosa Pipe - Olobatala recitando Oosa Pipe example of Traditional Ijala http://www.youtube.com/watch?v=1hkpAD2bLzo

i) Aeschylus' Agamemnon (Complete In Ancient Greek) http://www.youtube.com/watch?v=xfTnBoaYPS8

j) The Oresteia Agamemnon part 1 http://www.youtube.com/watch?v=O7sdZQ1BDs0

k) Egbe Olode(The Hunters) at Nigeria Independence Day Celebration Ijala http://www.youtube.com/watch?v=_fDROcgrj0Y

l) British Museum Story of the Trojan War http://www.britishmuseum.org/explore/young_explorers/childrens_online_tours/the_trojan_war/paris_is_made_an_offer.aspx

m) Picture of Death of Memnon on Amphora http://www.christusrex.org/www1/vaticano/ET2b-Amphora.jpg

n) Picture of the death of Memnon Amphora http://upload.wikimedia.org/wikipedia/commons/1/17/Greek_-_Hydria_with_the_Fight_of_Achilles_and_Memnon_-_Walters_482230.jpg

o) Eos & the Body Of Memnon http://www.theoi.com/Gallery/T19.11.html

p) Short Story of Memnon http://www.maicar.com/GML/Memnon.html

q) Another Short Story of Memnon http://www.mythindex.com/greek-mythology/M/Memnon.html

1) Video

a) Trojan Horse http://www.youtube.com/watch?v=9RYGQQ_qybY

IV. RESOURCES

A. Classical Kids: An Activity Guide to Life in Ancient Greece and Rome, by L. Carlson

B. The Greek Gods, by B. Evslin, D. Evslin, and N. Hoopes

C. Monsters of Mythology The Minotaur, by B. Evslin

D. Monsters of Mythology Procrustes, by B. Evslin

E. A Kaleidoscope Kids Book of Ancient Greece. 40 Hands-on Activities to Experience This

Wondrous Age, by A. Hart and P. Mandrell

F. What You 6th Grader Needs To Know, by E.D. Hirsch, Jr. (Lesson Three)

G. World Leaders Pericles, by P.S. King

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

H. Hercules The Man, the Myth, the Hero, by K. Lasky (Lesson One)

I. Ovid Metamorphoses, by A.D. Melville

J. Favorite Greek Myths, by M.P. Osborne (Lesson One)

K. Write Source 2000, by P. Sebranek, V. Meyer, and D. Kemper (Lesson Two)

Extended Text: All of the following texts are available online for free Excerpts from Story of the Trojan War See Appendix 1 Excerpts from Tales of Troy http://www.gutenberg.org/files/1973/1973-h/1973-

h.htm see Appendix 5 Excerpts from The Story of Troy http://www.gutenberg.org/files/16990/16990-

h/16990-h.htm See Appendix 6 Excerpts from Shades of Memnon

http://www.academia.edu/3036806/Shades_of_Memnon_Book_1_Teaching_Guide_By_Dr._Clyde_A._Winters_PhD

Excerpts from The Fall of Troy http://omacl.org/Troy/book1.html Excerpts from Quintus Smyrnaeus 2

Http://Www.Theoi.Com/Text/Quintussmyrnaeus1.Html Excerpts from (Vol. I)Diodorus Siculus Library Of History

http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Diodorus_Siculus/2A*.html see Appendix 4

The Idiots Guide to the Trojan War http://www.idiotsguides.com/static/quickguides/history/quick-history-the-trojan-war-and-the-fall-of-troy.html

Graphic Organizers: Document Analysis template (image):

(http://www.archives.gov/education/lessons/worksheets/photo_analysis_worksheet.pdf)

Frayer Model: http://www.longwood.edu/staff/jonescd/projects/educ530/aboxley/pdffiles/2.pdf

Summarizing: (http://teacher.scholastic.com/reading/bestpractices/vocabulary/pdf/sr_allgo.pdf)

Learning ActivitiesTeacher will meet daily with each group to instruct students on specific reading/researching strategies and the skills students will need to comprehend the texts for this unit and to complete their assigned tasks.

Student Groups will conduct discussions, write routinely, and report findings discovered through their research groups.

Teacher explains procedures for participating within their group activities. Teacher can use “fishbowl” strategy to demonstrate how small groups conduct discussions around texts. (SL.6.1)

Teacher assigns groups based on varying learning styles and ability levels, paying extra attention to ensure well balanced groups. (SL.6.1)

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

Teacher provides brief “book talk” of each extended text and ensures students are comprehending texts. (RH.6.8.1.,RH.6.8.4.)

Teacher models how to take Cornell notes while reading a text. As they’re reading the text, students practice close reading (and other strategies learned during mini-lessons) to search for and record elements that are essential in identifying their topic/person(s) unique characteristics and contributions. (RH.6.8.1., RH.6.8.2., RH.6.8.9.)

Students meet 2-3 times per week in their groups and use their notes to anchor their discussions and to develop their plans for their final project. Students write reflections following each group meeting. (SL.6.1., SL.6.2.)

Using the Essential Questions as a guide, students write summaries of select portions of their selected texts. (WHST.6-8.2., WHST. 6-8.8)

Students share the content from their literature circle text with the whole class, so that all students are familiar with the diverse texts. (SL6.4)

Mini-lessons/Activities for Teaching Writing to Develop and Convey Understanding, Cite Evidence, and to Study and Apply Language Conventions. (WHST.6-8.7., WHST.6-8.8.)

Teacher reviews guidelines and rubric for Performance Assessment: Groups will present a multimedia presentation on their individual colonial topic accompanied by an individual essay, or alternative written product that communicates how African Americans responded to issues brought about with the writing of the Declaration of Independence, 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 White Colonists. (RH.6-8.7, RH.6-8.8, WHST.6-8.7., WHST.6-8.8., WHST.6-8.9., SL.6.4., SL.6.5.)

Teacher will return to the shorter informational texts, as well as images (such as photos), to model how to construct the different parts of an informative/explanatory piece, including how to introduce a topic, how to organize the parts of the essay, how to use textual evidence to support the essay, what other types of evidence should be used as support, how to use transitions, etc. (RH.6-8.1., RH.6-8.5., RH.6-8.7.)

Students will use select informational texts, as well as images that they’ve gathered, to practice composing each part of the informative/explanatory essay. (WHST.6-8.8)

Students will spend time gathering evidence for the Performance Assessment, which includes using their notes to list specific evidence from their group readings that can be used for their project. Students will also record evidence from the short informational texts that were read in and outside of class. (RH.6-8.7., WHST.6-8.8.)

Students will be engaged in the writing process, including brainstorming, gathering evidence, drafting, revising, and editing. Teacher will confer with students through independent or guided writing conferences. (WHST.6-8.4)

Week 1 Students will be introduced to Greek Epic Poems, Legends and Myths focusing on the forgotten legacy of Africans and their role in the story of the Trojan War.

Students will read texts and investigate Greek art to discover that African and Africans were looked on both as proud and

Differentiated Strategies for Varied Learning Profiles

Informational texts will be available in a variety of

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

equal cultures and as heroes to the Greeks and the Trojans. They were viewed as beautiful, cultured and as great warriors. (See Launch lesson )

formats including audio, visual and tactilely.

Tasks will have components that allow for students to use visual, oral and tactile as well as kinesthetic skills to express knowledge gained.

Students will be able to take ownership of tasks through the use of “Choice Boards” and “Learning Centers.”

Week 2-3 The second and third weeks will contain readings and discussions of African and Greek epic poems, legends and myths and a historical perspective of the oral tradition as it applies to both cultures. Students will voluntarily create and tell original stories based on the norms of African and/or Greek Storytelling. Norms must be established so that the presenter knows what is expected of him or her and the audience knows what is of it. The audience should know that it is expected to listen carefully and respectfully to each presenter, and each student is to write a summary of each presenter’s tale in his or her notebook.Discuss the African method of telling a story where each member of the group tells a part of the story. The 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. Point out to the students that if this original story is to be preserved and told again, it would have to be written down. Tell the students that they will work in small groups creating and writing a myth or tale.The presenter should be prepared to tell a myth or tale to the audience. The presenter can retell any of the epic poems, legends and myths or tales studied in class or find a different story. The presenter should speak in a direct, loud voice so that the audience can hear the story. The presenter should use movement and facial and voice expressions where appropriate to dramatize the story. The presenter will have two to five minutes to recite his or her storyWhen 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. Students or classes who enjoy oral speaking may wish to share their oral presentations with other classes; I would suggest that the teacher arrange for the class to go to an earlier grade to present their dramatized stories. Other audiences might be senior citizen centers or convalescent homes.Please read narrative in Appendix 1Have a selection of books containing Greek, Roman, and African epic poems, legends and myths, legends, and folktales. The teacher might want to refer to and use some of the techniques for oral presentations and storytelling suggested in Viola Spolin’s

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

book, Improvisation for the Theater.Review the history of the oral tradition as it developed in the ancient cultures of Greece, Rome, and Africa. The teacher could present a dramatized version of a myth or folktale, Discuss how effective oral presentations

Week 4 -5 Students will work in group a myth or a tale.

Discuss the African method of telling a story where each member of the group tells a part of the story. The 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. Point out to the students that if this original story is to be preserved and told again, it would have to be written down. Tell the students that they will work in small groups creating and writing 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 writer. It should be understood that while all members of the group will be required to do something, certain members of the group will have additional responsibilities. The chairperson is responsible for coordinating the overall efforts of the group and making sure that the group accomplishes its tasks within the allotted times. The recorder is to collect all writings completed by the members of the group and the writer is responsible for the final copy of the group’s story or stories. The writer does not do all the rewriting himself or herself, but he or she can delegate rewriting assignments to the other members of the group. The teacher can then assign a particular type of myth or folktale to each group or let the group select the type of story it would like to create. (See Procedures for Creating a Myth or Folktale )

Explanation Myth or Folktale

1. Each member of the group is to write five question sentences beginning with the word Why. Example: Why is the sky blue?

2. Each member is to share his or her question sentence with the group.

3 The group is to select one question sentence and write a story explaining the question.

4. The group is to present its explanation myth to the class, Each member of the group is to take part in the presentation.

Supply the material with the varied amount of print, varied text structures and extensive graphic support based on students’ instructional levels.

Use videos to enhance comprehension through auditory and visual modes.

Allow brief, cooperative brainstorming to activate prior knowledge and make predictions.

Adjust the complexity, abstractness, type of response necessary, and connections required between topics based on readiness and learning profile.

Establish clear criteria for success.

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

II. Hero Myth or Folktale

1. Each member of the group is to list five people he or she considers a hero, then list the characteristics which 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 with the group,

3. The group is to make up a composite hero and write a story which describes three adventures of this hero,

4. The hero story is to be presented to the class and each member of the group is to take part in telling the story.

III. Fantasy Myth or Folktale

1. Each member is to write a paragraph describing his or her perfect or Golden age.

2. Each member is to read is or her paragraph to the group.

3. The group writer, wit the help of the other members of the group, is to create a story describing the group’s Golden age.

4. The group s story describing the Golden age is to be presented to the class. Each member of the group is to present a part of the story.

IV. Animal Epic poems, legends and myths or Folktales

1. Each member of the group is to select a different animal and write a paragraph explaining how that animal acquired 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 questions each animal story presented.

3. Once each member s story has been read, commented on, revised and rewritten, the group writer is to compile into book form all of the group’s animal stories,

4. The group is to present its animal stories to the class. Each member of the group is to tell his or her animal story.

Use wait time before taking student answers.

If appropriate, give students a chance to talk to partners or write down their answers before responding.

Provide clear guidelines for group functioning that are taught in advance of group work and consistently reinforced.

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

Appendix 1

The third and fourth weeks would contain readings and discussions of African and Greek epic poems, legends and myths and a historical perspective of the oral tradition as it applies to both cultures. The teacher and students will engage in reading and telling Greek and African epic poems, legends and myths and legends, comparing and contrasting them. During the final weeks of the unit, the students would be working first in groups and then individually creating, writing and presenting their own epic poems, legends and myths or folktales. The majority of the recommended readings will be African folktales because experience has shown that although students may have been introduced to Greek and Roman epic poems, legends and myths and are already familiar with some of the more popular stories, they have not read many African tales nor understood the complexity of the African oral tradition.

The teacher who uses this curriculum should have some information and background on African epic poems, legends and myths. The teacher, being informed about how the epic poems, legends and myths operated within the tribal societies of Africa, will be better able to guide the learning of the students. For that reason, this unit will 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. For those who are short of resources will find some attached. (See Appendix 2)

There is always a large stock of books on Greek epic poems, legends and myths in school bookrooms and libraries. For the purposes of this unit, any of the Greek or Roman epic poems, legends and myths could be read and discussed. One of the most important topics for this unit is the Trojan War and several versions have been added as resources. The epic poems, legends and myths recommended are Greek and which contain obvious points of comparison with the suggested readings from African tales. The suggested readings include: Pandora, Cupid and Psyche, Atalanta, Phaethon, and Hercules. For students reading below grade level, two good sources for the Odyssey are Henry I. Christ’s The Odyssey of Homer and Scholastic Scope s dramatization of the Odyssey entitled The Homecoming of Ulysses which appeared in their February 4, 1983 edition.

It will be more of a challenge for the teacher to provide African epic poems, legends and myths and tales for class reading because so few African myth anthologies are available. There are two ways to present African tales. First, the teacher might read and familiarize himself with African stories and, in the true oral tradition, tell these stories to the students, who will write the stories as they heard them in their notebooks. This method of presentation gives the students the opportunity to make their own books on African tales and they would observe how a story changes from the oral presentation to the written version. Another method of presentation would 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 would be responsible for reading and presenting a myth to the class and each student would write in his or her notebook the epic poems, legends and myths and stories as he or she heard them. Whichever method the teacher selects, the object is to have the students become familiar with a variety f African epic poems, legends and myths folktales which they can compare with the Greek; and Roman 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 why there are so many African tales, it is important for students to realize that Africa is the second largest continent in the world and is inhabited by over forty-six clans or tribes. There are an estimated 800 to 1,000 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 were developed in the oral tradition. Right up to the present time, African epic poems, legends and myths and legends were verbally handed down from one generation to the next. The oral tradition has existed on the African continent longer than on any other. Long before Homer and the earlier Greek

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

poets, long before the coming of Europeans to Africa, and long before the development of writing, Africans expressed their feelings, beliefs and thoughts orally.

Both African and Greek epic poems, legends and myths and legends developed from an oral tradition but there are differences in the ways they evolved. The oral tradition in Africa preceded the oral tradition in Greece and it was developed for different purposes. During the time of Homer, the Greeks had a social structure which allowed them much leisure time; so storytelling was a popular entertainment, The people who could spellbind their audiences by telling a story were much in demand and much honored, The art of telling a tale and the stories themselves were developed for art s sake, The storyteller, or bard, in Greece could live well on the gifts bestowed upon him because of his talent. Africans living during the same period did not have a social structure which allowed much time for leisure. The clans were not very large, and everyone had to become involved in the day-to-day tasks which made survival possible. Each tribesman or woman was busy, either tending the crops, hunting, protecting the village, or cooking. Storytelling was developed for very pragmatic reasons. For example, in the Yoruba clan of Nigeria, ijala is the speech-like song which is part of their oral literature. It is chanted by talented men and women at religious ceremonies, Other occasions of ijala chanting are during periods of hard work by farmers on their farms, Ijala then serves the purpose of music-while-you-work, cheering the farmer, making him work faster and longer and helping to make his work not a burden, but a delight for him: be it removal of weeds, the clearing of a fresh plot in the forest, the making of soilmounds with the hoe, the harvesting, of crops, or the tapping of the palm trees for wine.1 Storytelling was believed to ward off evil spirits, help crops grow better and keep clan members healthy. Tales about tribal ancestors were told to elicit help from their spirits. These are but a few 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.

Greeks and Africans living during the time of Homer had different ways of presenting their oral literatures. In African storytelling, the audience often told the story. For instance, one person working in the field would start the tale and because everyone was familiar with the story, each person in turn would add a part to the story until it was completed. When Homer or any other Greek or Roman storyteller recited his tale, he would sometimes be accompanied by a lute, but music was not a major part of the Greek or Roman oral tradition. Rattles, drums, bells, dancing, handclapping, and singing were an integral part of the African oral tradition. The following is a description of the performance of an African epic:

Episode by episode, the epic is first sung, then narrated. While singing and narrating, the bard dances, mimes, dramatically represents the main peripeties (is a reversal of circumstances, or turning point) of the story. In this dramatic representation, the bard takes the role of the hero. The normal musical accompaniment consists of a percussion stick (nkwangatiro) which, resting on a few little sticks so as to have better resonance, is beaten by three young men. They know large fragments of the epic, and, whenever necessary, help the bard to remember and to find the thread of his story. The narrator himself shakes the calabash rattle and carries anklet bells. Members of the audience sing the refrains of the song and repeat a whole sentence during each short pause made by the bard. . . Members of the audience also encourage the reciter with short exclamations and handclapping or whooping.2

Audience participation and musical and rhythmical accompaniment are the essential elements of African oral literature which distinguishes the African oral tradition from the Greek and Roman oral traditions.

Clans relied upon the memories of the older members of their groups to recite and perform the clan’s folklore. This person became the clan historian and he or she would recite the history of the clan and sing the praise names of the chief. Each clan had a different title for its historian. Missionaries and other Europeans wishing to compile African epic poems, legends and myths, legends and folktales spoke to the historians of the clans. The performance of folklore was an avocation rather than a profession. Individuals who tried to make a living by reciting and chanting histories or folklores were regarded as no better than beggars.

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

Anthropologists and historians have been trying to explain the differences and similarities between the epic poems, legends and myths and legends of different cultures. It is generally thought that peoples living in the same age and faced with similar social problems expressed themselves in similar ways in their stories. The differences occur because of differing geographic conditions. Geography can account for the fact that there are numerous Greek and Roman epic poems, legends and myths and only a few 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 Greeks and Romans. Greeks, Romans and other western European cultures wrote down the epic poems, legends and myths in 45 B.C. and therefore preserved them in their original form. Africa did not have a written record of their earliest epic poems, legends and myths and the epic poems, legends and myths which did exist at that early period have evolved into fables or animal-novelettes. The art of writing was unknown in Africa. This was due, not to any African inability, but simply to geographical isolation. Desert, forest and sea were effective barriers to the spread of written culture until modern times.

While the number of epic poems, legends and myths from the African and Greek cultures may differ, both cultures had a similar concept of the beginning of history. Both cultures refer to a Golden age. During the Golden age, the earth needed no cultivation, there was no war, and man lived without sorrow, rich in flocks and free from toil. The Greek concept of the Golden age appears in Hesiod’s Works and Das and in books one and fifteen of Ovid’s Metamorphoses. In one African myth entitled The Separation of God from Man, l the end of the Golden age is explained. According to this myth, the earth and the sky were connected. Man did not have to grow crops. He simply reached into the sky and took the foods he needed from the sky god. But man abused this privilege by taking more food than he needed. He wasted much of the food, and this angered the sky god. The sky god was further angered when the women of the village would constantly hit the sky and cause huge chunks of it to fall when they were pounding the fufu to make bread, For that reason, the sky god moved his domain away from earth,

Like The Separation of God from Man, l most of the African epic poems, legends and myths illustrate the geocentrism of the African people. Africans are earthbound. Their 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. The sun and the moon were once on earth. i Another African myth depicts the water and the sun with his wife, the moon, living on earth. They were great friends, The sun was always visiting the water, but the water would never return these visits. When the sun asked the water why he never visited him, the water replied that the sun s house wasn’t big enough and if the sun wanted him to visit, the sun would have to build a very large yard, The sun went home and told his wife, the moon, what the water had said, The next day the sun built a huge yard so that his friend, the water, could visit. When the yard was completed, the sun invited the water. The water, accompanied by the fish and other water animals, began to flow in, He soon filled the yard and the water asked the sun if he still wanted him to visit. The sun replied, “yes.” More water and water creatures flowed in. The water was now up to the sun’s head. Again the water asked the sun if he wanted the water to visit him, and the sun, not knowing any better, replied, “Yes.” The water continued to flow until the sun and the moon had to perch on their roof. The water asked the same question and received the same answer, When the water overflowed the roof, the sun and the moon were forced to go up into the sky. There they have remained ever since. The Bushmen myth entitled “The Sun and the Children” depicts the sun living on earth. In this myth the sun is Iying on the ground and the children, who are the heroes of the myth, are being admonished by their mother to lift up the sun’s armpit. Children, she says, you must wait for the sun who is making us so cold, to lie down to sleep. Then approach him gently and, all together, lift him up and throw him into the sky. The three epic poems, legends and myths summarized in these two paragraphs can be found in the book African Folktales, edited by Paul Radin.

After reading several African epic poems, legends and myths certain similarities in the stories will become evident. The African epic poems, legends and myths simply and succinctly express joy in life and human activity. These epic poems, legends and myths, legends, and folktales reinforce the world affirming belief that life on earth is good. Man is depicted as completely and inextricably anchored in this world. There is stark realism in African epic poems,

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

legends and myths. Man is shown in all his moods. The pleasant and not so pleasant aspects of daily life are told. While there is the tale of Kintu who undergoes many tests to obtain the woman he loves, for the most part there is little romanticism or sentimentality found in African epic poems, legends and myths.

Unlike the Greeks and Romans who 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. The African culture stresses the importance of the group over the individual. The individual is only important to the extent that he or she benefits the group. In fact, if the individual has a fault, the whole group suffers. For example, in one African myth the foolish king indulged the wishes of his greedy son and brought ruin to himself, his land, and the country was turned into ashes and dust. African societies do not deny the existence of individuals’ traits, but require that these be subjugated to the best interests of the group. The individuals celebrated in the African folktales and legends are those who have earned recognition because of their relationship with the group. The qualities praised in the hero of a tale are those that are successful in furthering the overall interests of the clan,

There is one African epic about a hero named Mwindo. This epic is told in many parts of Africa. The most complete and poetic version of the Mwindo story is heard in Myanga country which is in the eastern part of Zaire, The Mwindo epic has all the characteristics of a Greek or Roman epic. This epic could be compared to Homer’s Odyssey or the tales of Hercules. The hero, Mwindo , has a miraculous birth, and he is a great hunter. His story depicts supernatural beings and the metamorphoses of human beings. Mwindo’s travels take him to the underworld. Mwindo has a celestial journey where he is lifted into the sky and returned to earth by lightning after an adventurous year. The hero also possesses magical powers which enable him to perform Herculean tasks. All of the elements of the Mwindo epic can be discussed and compared to the trials of Odysseus or his son, Telemachus. And the feats of the African hero Mwindo can be compared with those of Hercules.

God is the Supreme Being in most African epic poems, legends and myths. Different Clans have different names for their supreme being. There are lesser gods and ancestors who 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 with the Supreme Being 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 powers in the triangle and African epic poems, legends and myths often depict this struggle.

The names given to the Supreme Being in African epic poems, legends and myths represent what men think of his character and attributes. He is called Creator, Moulder, Giver of breath and souls, and God of Destiny. The Supreme Being is given such nature titles as The Bow in the Sky, The One Who Thunders, and The Fire-lighter. The divine greatness of the Supreme Being is indicated by such names as Ancient of Days, The Limitless, The First, The One Who Bends Even Kings, He Who Gives and Rots, The One Who Exists of Himself, and The One You Meet Everywhere.

God is also called The One Who Besets. If there was great suffering in an African’s life, he or she would 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 woman would appeal to the Supreme Being who is called The Ordainer of Human Lives. The Chaga people of Kenya tell a story about a man whose sons had all died and the father, being angry with God, went to the blacksmith to have the blacksmith make him the finest arrows. This Chaga man was going to shoot God. The man travelled to the farthest edge of the earth to the place where the sun rises. There he stood waiting for sunrise. Presently the Chaga man heard footsteps and people shouting that the gate must be opened for the king. The man saw a throng of shining people and he hid himself in fear. The Shining One was in the midst of the others. Suddenly the procession stopped because the shining people smelled the horrible stink of an earth man. They found the Chaga man and brought him before God. God already knew that the man wanted to shoot him so the God bade

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

the man to shoot him. The man refused to shoot God. God, who already knew that the man wanted his sons, told the Chaga man that if he wanted his sons he could take them as the sons were standing right behind him. The man saw his sons but they were so radiant that he hardly knew them. The man did not take his sons because he felt they belonged to God. God told the man to return home and on his way home he must look carefully and he would find something that would please him very much. On the road home, the Chaga man found a cache of elephant tusks which made him rich for life. He married and had other sons who lived to support him in his old age. Like this tale, other African tales of visits to God usually contained a promise of good fortune if the Supreme Being’s wishes were followed,

The most popular and prevalent of all the African stories are the animal fables. The African has always been in close touch with the animal world so that it is natural for them to create stories about animals. The Africans project human feelings on to the animals in the tales, The personifications of the animals reveal the attitudes and actions of men which are praised or condemned. These animals are characterized as being wise, cunning, deceitful, greedy, jealous, kind, or treacherous, There are many fables about the leopard, the python, the goat, the tortoise, the hare, the chameleon, and the elephant. But, the most popular of all the animal tales are the stories about the spider called Anansi. He 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, The Greeks and Romans also had tales about animals. Many of the animal stories are found in Ovid’s Metamorpheses. There is the story of the crow in Book II, lines 540-655, and the story of Picus who is changed into a woodpecker in Book XIV, lines 320 to 400.

There are many points of comparison between the epic poems, legends and myths, legends and tales of the Greek, Roman, and African cultures. The background information on the African oral literature and oral tradition will help the teacher guide the learning experiences of his or her students. As the students become familiar with the elements of comparison, they will begin to discover more and more similarities and differences between these ancient cultures. In order to provide the students with a geographical perspective, I have included a map of Africa which shows the locations of some of the African clans. Finding the locations of the clans was not an easy task because the names of the African countries are changed frequently. For example, one clan was Located in the Congo Republic which is now called Zaire. The students could draw their own maps of Africa and include them in their mythology notebooks.

Earlier in this unit I named some Greek stories that could be read and compared with African stories. Both cultures have many stories about people who were excessively jealous or curious. The story of Cupid and Psyche depicts the jealousies of Aphrodite and Psyche’s sisters. The African story called The quarrel between Oya and Oshun, which can be found in Courlander’s Tales of Yoruba Gods and Heroes, depicts the jealousy between the chief s two wives. Human curiosity can cause all kinds of problems for humans as noted in the Greek story Pandora, and the African story Shango and the Medicine of Eshu which can be found in Courlander’s Tales of Yuroba Gods and Heroes. These 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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SOCIAL SCIENCE 6th Grade Interdisciplinary African and African American Studies Quarter 2 Unit Plan

Appendix 2

Has your curiosity ever got you into trouble? Have you ever been so desperate to know a secret that you took no notice of a warning? 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 just did not listen. One person who did not listen was Pandora. Her story comes from Ancient Greece and her curiosity brought a whole heap of trouble! Another person who just did not listen was Oya. Her story comes from West Africa and her curiosity brought a whole heap of trouble too.

Shango and the Medicine of Eshu Pandora’s Box

The orisha Shango ruled firmly over all of Oyo, the city and the lands that surrounded it. He was a stern ruler, and because he owned thethunderbolt the people of Oyo tried to do nothing to displease or anger him. His symbol of power was a double-bladed axe which signified, "My strength cuts both ways," meaning that no one, even the most distantcitizen of Oyo, was beyond reach of his authority or immune to punishment for misdeeds. The people of Oyo called him by his praise name, Oba Jakuta, the Stone Thrower Oba.

But even though Shango's presence was felt everywhere in Oyo, and even beyond in other kingdoms, he wanted something more to instillfear in the hearts of men. He sent for the great makers of medicine in Oyo and instructed them to make jujus that would increase his powers. One by one the medicine makers brought him this and that, but he wasnot satisfied with their work. He decided at last to ask the orisha Eshu for help.

He sent a messenger to the distant place where Eshu lived. The messenger said to Eshu: "Oba Jakuta, the great ruler of Oyo, sends me. He said: 'Go to the place where the renowned Eshu stays. Tell him I need a powerful medicine that will cause terror to be born in the hearts of my enemies. Ask Eshu if he will make such a medicine for me.' Eshu said: "Yes, such a thing is possible. What kind of power does Shango want?"

Has your curiosity ever got you into trouble? Have you ever been so desperate to know a secret that you took no notice of a warning? 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 just did not listen. One person who did not listen was Pandora. Her story comes from Ancient Greece and her curiosity brought a whole heap of trouble!

In ancient Greece there were two brothers named Epimetheus and Prometheus. They upset the gods and annoyed the most powerful of all Gods, Zeus, in particular. This was not the first time humans had upset Zeus, and once before, as punishment, he had taken from humans the ability to make fire. This meant they could no longer cook their meat and could not keep themselves warm.

However, Prometheus was clever and he knew that, on the Isle of Lemnos, lived Hephaestos, the blacksmith. He had a fire burning to keep his forge hot. Prometheus travelled to Lemnos and stole fire from the blacksmith. Zeus was furious and decided that humans had to be punished once and for all for their lack of respect.

Zeus came up with a very cunning plan to punish the two brothers. With the help of Hephaestos, he created a woman from clay. The goddess Athene then breathed life into the clay, Aphrodite made her very beautiful and Hermes taught her how to be both charming and

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

The messenger answered: "Oba Jakuta says, -Many makers of medicine have tried to give me a power that I don't already have; But theydo not know how to do it. Such knowledge belongs only to Eshu. If he asks what I need, tell him it is he alone who knows what must be done. What he prepares for me I will accept."

Eshu said: "Yes, what the ruler of Oyo needs, I shall prepare it for him. In return he will send a goat as sacrifice. The medicine will be ready in seven days. But you, messenger, do not come back for it yourself. Let Shango's wife Oya come for it. I will put it in her hand." The messenger went back to Oyo. He told Shango what he had heard from Eshu. Shango said, "Yes, I will send Oya to receive the medicine."On the seventh day he instructed Oya to go to the place where Eshu was living. He said: "Greet Eshu for me. Tell him that the sacrificewill be sent. Receive the medicine he has prepared and bring it home quickly."

Oya departed. She arrived at the place where Eshu was living. She greeted him. She said: "Shango of Oyo sends me for the medicine. The sacrifice you asked for is on the way."

Eshu said: "Shango asked for a great new power. I have finished making it." He gave Oya a small packet wrapped in a leaf. He said: "Take care with it. See that Shango gets it all."

Oya began the return journey, wondering: "What has Eshu made for Shango? What kind of power can be in so small a packet?" She stopped at a resting place. As Eshu had presumed she would do, Oya unwrappedthe packet to see what was inside. There was nothing there but red powder. She put a little of the powder in her mouth to taste it. It wasneither good nor bad. It tasted like nothing at all. She closed the medicine packet and tied it with a string of grass. She went on. She arrived at Oyo and gave the medicine to Shango.

deceitful. Zeus called her Pandora and sent her as a gift to Epimetheus.

His brother Prometheus had warned him not to accept any gifts from the gods but Epimetheus was completely charmed by the woman and thought Pandora was so beautiful that she could never cause any harm, so he agreed to marry her.

Zeus, pleased that his trap was working, gave Pandora a wedding gift of a beautiful box. There was one very, very important condition however, that she must never opened the box. Pandora was very curious about the contents of the box but she had promised that she would never open it.

All she could think about was; what could be in the box? She could not understand why someone would send her a box if she could not see what was 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. This was just what Zeus had planned.

Finally, Pandora could stand it no longer. When she knew Epimetheus was 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. But, at the last moment, she felt a pang of guilt, imagined how angry her husband would be and quickly locked the box again without opening the lid and put the key back where she had found it. Three more times she did this until, at last, she knew she had to look inside or she would go completely mad!

She took the key, slid it into the lock and turned it. She took a deep breath, closed her eyes and slowly lifted the lid of the box. She opened her eyes and looked into the box, expecting to see fine silks, gowns or gold bracelets and necklaces or even piles of gold coins.

But there was no gleam of gold or treasure. There were no shining bracelets and not one beautiful dress! The look of excitement on her face quickly turned to one of disappointment and then horror. For Zeus had packed the box full of all the terrible evils he could think of. Out

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

He said: "What instructions did Eshu give you? How is this medicine to be used?"

Oya was about to say, "He gave no instructions whatever." As she began to speak, fire flashed from her mouth. Thus Shango saw that Oyahad tasted the medicine that was meant for him alone. His anger was fierce. He raised his hand to strike her but she fled from the house.

Shango pursued her. Oya came to a place where many sheep were grazing. She ran among the sheep thinking that Shango would not find her. But Shango's anger was hot. He hurled his thunderstones in all directions. He hurled them among the sheep, killing them all. Oya lay hidden under the bodies of the dead sheep and Shango did not see her there.

Shango returned to his house. Many people of Oyo were gathered there. They pleaded for Oya's life. They said: "Great Shango, Oba ofOyo, spare Oya. Your compassion is greater than her offense. Forgive her."

Shango's anger cooled. He sent servants to find Oya and bring her home. But he still did not know how Eshu intended for him to use themedicine. So when night came he took the medicine packet and went to a high place overlooking the city.

He stood facing the compound where he lived with all his wives and servants.

He placed some of the medicine on his tongue. And when he breathed the air out of his lungs an enormous flame shot from his mouth, extending over the city and Uniting the straw roofs of the palace buildings. A great fire began to burn in Oyo.

It destroyed Shango's houses and granaries. The entire city was consumed, and nothing was left but ashes. Thus Oyo was leveledto the ground and had to be rebuilt. After the city rose again from its ashes, Shango ruled on. In times of war, or when his subjects displeased him, Shango hurled his

of the box poured disease and poverty. Out came misery, out came death, out came sadness - all shaped like tiny buzzing moths.

The creatures stung Pandora over and over again and she slammed the lid shut. Epimetheus ran into the room to see why she was crying in pain. Pandora could still hear a voice calling to her from the box, pleading with her to be let out. Epimetheus agreed that nothing inside the box could be worse than the horrors that had already been released, so they opened the lid once more.

All that remained in the box was Hope. It fluttered from the box like a beautiful dragonfly, touching the wounds created by the evil creatures, and healing them. Even though Pandora had released pain and suffering upon the world, she had also allowed Hope to follow them.

Text only version http://myths.e2bn.org/mythsandlegends/textonly562-pandoras-box.html

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

thunderbolts. Every stone he threw was accompanied by a bright flash that illuminated the sky and the earth. This as all men knew, was the fire shooting from Shango's mouth The sheep that died while protecting Oya from Shango's thunder- stones were never forgotten. In their honor, the worshippers of Oya have refused to eat mutton even to the present day.

ANANSI

Kweku Anansi (or Ananse) is the son of the Asanti (Ashanti) god called Nyame.

Nyame the great sky god, turned Anansi into a spider-man. He created life and death. Once death used venom to overcome Nyame. Nyame used an antidote to combat death's venom; therefore, he has eternal life. A part of Nyame's eternal spirit was placed into the human soul or "kra". Therefore, this kra also cannot die. Additionally, Nyame is known as Ananse Kokuroko, which means The Great Spider or The Great Designer.

Nyame allows Anansi to bring rain, especially to quench forest fires. It is also Anansi who determines the borders of oceans and rivers when they flood. Anansi is so famous that he is credited with creating the sun, moon, stars, night, day and the first man in whom Nyame breathed life. He showed humans how to plow and sow grain. His Web of Life inspired humans by showing them how to weave and how to construct houses. The web also showed human beings how to link themselves together in order to form a society. The web is also a symbol of the life-giving sun.

Anansi's first name, Kweku. His mischief had infuriated Nyame one time too many and for this final transgression Nyame permanently turned his son into a small spider-man. From that time forward, Anansi the spider-man had to use his mental skills to survive. Undaunted by his fate, Anansi rose to become the

ARACHNE

... was a skilled weaver in Greek mythology. She boasted that she could weave fabrics more beautiful than those woven by Athena, the goddess of arts and crafts. Athena, disguised as an old woman, warned Arachne not to be so boastful. When Arachne scorned her advice, Athena revealed herself as a goddess and accepted Arachne's challenge to a weaving contest.

Athena wove a tapestry that pictured mortals being punished by the gods for their pride. Arachne's work showed the shocking misbehavior of gods and goddesses. When Athena saw that Arachne's work was as beautiful as her own, 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 webs by spiders.

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

"Keeper Of All Stories". He is the hero of children and the champion of the little guy and the powerless. Like them, he often gets in trouble and must use his intelligence to save himself.

Anansi and the Yam Hills

by Michael Auld

Once in a before time, there lived an old woman who had magical powers. Her name was 5. She was also so evil that some people called her a witch. 5 hated her name. No one knows why her parents named her the number 5. When she was a child, other children would make fun of her name. Sometimes when she was within earshot, they would look out the corner of their eyes and giggle as they said. Give me 5!"

When she grew up, 5 decided to put an end to the name-calling. So, she created a weird spell. "Anyone who says '5' will drop dead,” she said. Then she changed her mind. “From this day on, anyone who says „5‟ will disappear,"

This spell immediately caused a problem in the country. No one could say that number again without disappearing. Children could no longer recite their five times tables. People had to drop the word 'five' from their vocabulary. In 5‟s village, the unlucky number was no longer 13. Once, a customer asked a merchant, “How much is that blue T-shirt?” “That shirt is 5 doh... ” Suddenly there was a loud “SWOOSH!” before the merchant could finish his sentence. He disappeared right in front of the dumbfounded customer's eyes!

A crafty spider named Anansi lived in 5's village. He had heard about the witch‟s spell. Times were very hard. Anansi was not a farmer and he had no food at all to eat. His wife and children were starving. Since Anansi was small, and not a very good worker, he could only rely on his brain to get whatever he needed to survive. He said to himself. "Things are tough, boy! I must make this witch's spell work for me".

Anansi went to the road that led to the village's marketplace. He chose a spot on the side of the road

The Myth of Midas

Midas was a king of Phrygia, a region nowadays part of Turkey. One day some of his farmhands brought him a satyr they had caught napping in the vineyard. This creature, part man, part goat, still groggy and much the worse for wear, had been thoroughly trussed up to keep him from escaping. Midas immediately recognized Silenus, right-hand satyr to the god Dionysus, and ordered him set free.

Silenus explained that he and his master had just returned from the East where they had been engaged in spreading the cultivation of the grape. Dionysus had brought back a tiger or two, an ever-expanding flock of followers and one very drunken satyr. Silenus had conked out in Midas's vineyard to sleep it off. Now he was grateful to the king for treating him with dignity, and so was Dionysus. The god was so pleased, in fact, that he offered to grant whatever Midas should wish for.

Now, you didn't get to rule a kingdom in those days without a pretty active grasp of what makes for a successful economy. Midas didn't have to think twice. 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 eyebrow, Dionysus went so far as to ask if Midas were sure. To which the king instantly replied, "Sure I'm sure." So Dionysus waved his pinebranch sceptre and conferred the boon.

And Midas rushed back home to try it out. Tentatively at first, he laid a trembling fingertip upon a bowl of fruit and then a stool and then a wooly lambkin. And when each of these had been transmuted in a trice into purest gold, the king began to caper about like the lambkin before its transformation.

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

where everyone on the way to market would have to pass. There, near a large Guangu tree, he decided to pile up five mounds of the rich brown soil. These mounds he called "yam hills". In the top of each yam hill, he planted an African yellow yam. Then he drove a stake next to the yam on which its vine could grow. Anansi carefully watered the yams until each one began to sprout. Anansi made a web-like a hammock in the Guangu tree and patiently waited for someone to come by. Early one morning, after each yam shoot had poked its head out of a mound, Anansi sat down next to his yam hills. Soon, Brother Dog came by on his way to the market. Dog balanced a bankra basket of sweet-smelling fruits on his head as he walked down the road. "Good morning Brother Dog," said Anansi in a sugary voice. "I know that you are busy, and I feel so stupid. I am not an educated man like you. Would you help me to count how many yam hills that I have planted here?" Anansi asked.

"You should have gone to school to learn how to count!" Brother Dog said grumpily as he walked away from Anansi towards the market. Anansi climbed up into the Guangu tree and waited. The next person to come by was Brother Bull. He carried large basket of fruits on his head. "Good day Bro' Bull." Anansi said in a sad voice. "Could you just spare me one minute?" Anansi begged. "What can I do for you, Anansi?" Bro' Bull asked."I was a *yikki and sickly child. So, my parents did not send me to school. I never learned my ABC's. I planted all these yam hills... Can you help me to count them?" Anansi said."But, of course Anansi" Bro' Bull replied. "You have 1, 2, 3, 4, 5...."

SWOOSH! As he said that number, Brother Bull disappeared into thin air. The basket of sweet 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.

For a long time, Anansi did very well tricking some passersby into counting his yam hills. He grew fat from all the baskets of food he had gathered. He had tricked Brothers Turtle, Owl, Mongoose, Hare, Peenie-Wallie the firefly, and even the tough Bro' Scorpion. Mrs. Guinea fowl was a nice young mother of newly hatched

"Just look at this!" he crowed, turning his chariot into a glittering mass of priceless-though-worthless transportation. "Look what daddy can do!" he cried, taking his young daughter by the hand to lead her into the garden for a lesson in making dewy nature gleam with a monotonous but more valuable sheen.

Encountering unexpected resistance, he swung about to see why his daughter was being such a slug. Whereupon his eyes encountered, where late his child had been, a life-size golden statue that might have been entitled "Innocence Surprised".

"Uh oh," said Midas, and from that point on the uh-oh's multiplied. He couldn't touch any useful object without it losing in utility what it gained in monetary value, nor any food without it shedding all nutritional potency on its leaden way down his gullet.

In short, Midas came to understand why Dionysus had looked askance when asked to grant the favor. Fortunately, the god was a good sport about it. He allowed Midas to wash away his magic touch in the river Pactolus, which ever after enjoyed being renowned for its shimmering deposits of gold.

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

children. She could not say 'no' to anyone. She and her husband shared the chore of selling their produce in the village. That day it was her turn to go to the marketplace. She loaded up her hand basket and headed for the market. As she got closer to the yam hills Anansi was nowhere in sight. Just as she was about to pass yam hill number 4, Anansi the spider lowered himself down from his perch in the Guangu tree. He called out in his sugary voice. "Good morning Mrs. Guinea Fowl. Could you help me with a problem?" "Of course Anansi". The polite Mrs. Guinea Fowl said.

"I have these yam hills here, and I don't know how to count ..would you help me... ? Please." Anansi begged. Mrs. Guinea Fowl, who had seen Anansi trick Bro' Scorpion, walked over to the last yam hill and climbed up on top of it. She said. “You have 1 ... 2 ... 3 ... 4 ... and the one I am standing on".

"What! What are you doing? That is not the way you count!" Anansi shouted angrily."What do you mean, Anansi?" Mrs. Guinea Fowl said. "I don't know of any number called 'the one I'm standing on'. Start again!” Anansi ordered.

Mrs. Guinea Fowl began again. "You have 1, 2, 3, 4 ... and the one I am standing on". "That is not what you are supposed to say!" Anansi shouted even more angrily. "Well ... If you are so smart... What am I supposed to say?" Mrs. Guinea Fowl asked.

Anansi shouted, "You are supposed to say 1, 2, 3, 4, 5 ... Oops…”Suddenly, Anansi disappeared, leaving Mrs. Guinea Fowl with all the loot that he had gotten from tricking his victims.

U21

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

Attachment 1

“See Think Wonder”

Step 1. Observation “See”

A.

Study the image for 2 minutes. Form an overall impression, then examine individual items. Next, divide the image into quadrants and study each section to see what new details become visible.

B.

Use the chart below to list people, objects, and activities you see in the image. You can work individually or answer as a group.

People Objects Activities

U22

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

Step 2. Inference “Think”

Based on what you have observed above, list three things you might infer from this image. What does it make you think?

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Step 3. Questions “Wonder”

A.

What questions does this image raise in your mind? What do you wonder about?

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B.

Brainstorm some possible places where could you find answers to your questions?

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U23