Study Guide for

Anansi and Friends: The Joke’s onYOU!

Illustration by Phillip Martin

Compiled by Phoebe Hall

From public educational sources online. Credit has been given to each source within the guide. Feel free to reproduce these exercises and activities.

They are free from each source for educational purposes only. Contact me should you need help or have questions.

Study Guide for Anansi and Friends: The Joke’s on YOU!(middle school grades)

General Guidelines for Teaching with Folk Tales, Fairy Tales,Fables, Ballads, and Other Short Works of Folklore

Tina L. HanlonFerrum CollegeDecember 1999

Diagrams of Types of Folk Literature (see below) 

Advantages of Teaching with Short Works of Folklore

Pitfalls of Teaching withShort

Works of Folklore

1.  They are short!  It is easy to distribute copies of short tales or rhymes to a whole class, discuss them during a class period, and compare a variety of examples relating to different topics, without needing time for extensive reading assignments.

2.  They are fun!  Many types of folklore are entertaining and most of us have fond memories of stories and rhymes we have known since childhood. Viewing illustrated versions or film adaptations can also add variety and enjoyment to class assignments.

3.  They are memorable.  Most tales and rhymes from oral traditions

1.  Sometimes we are too literatefor our own good. When discussingoral traditions, we must break students of the habit of referring to the writer, the original source, or the "real" or"correct" version.  Usually thereis no known original version or writer, and obviously folklore isoften written down or retold using features of vernacular dialects, not in standard English.

2.  See advantage #4.  Students often think myths or folktales from unfamiliar cultures are bizarre, or pagan.  Every culturehas very strange, nonrealistic stories in its mythology and folklore.  Insist that students

use patterns of language and plotthat make them easy to retell anddear to the hearts of tellers andlisteners.

4.  They are found in infinite variety everywhere.  Every culture has longtraditions of oral storytelling, verse-making, and joke-telling. Students can learn about different cultures by studying folklore, collect folklore from their own families and communities, and write or dramatize their own variants of traditional tales and rhymes. Once you start looking for them, you find allusions to familiar folk heroes, rhymes, and sayings throughout popular culture.

5.  They are universal.  Although it is interesting to compare culturally specific details in folklore from different times andplaces, one of the most intriguing phenomena in human experience is the similarities instories with universal themes from all over the world. For example, there are obvious historical connections between the Appalachian "Ashpet" and the German "Ashputtle," which European settlers in Appalachia would have known, but why are stories with similar Cinderella motifs also found in ancient African and Asian traditions?There are fascinating theories about the universal elements in world folklore and myth.

realize this and respect the culture that produced the folklore, without using biased language when they compare unfamiliar and familiar stories or poems.

3.  See advantage #4 again. Because folklore adaptations and multicultural literature have been so popular in recent years, there is a danger in overemphasizing traditional cultures of the past to representcultural diversity. There still aren't enough books that portray people of minority cultures living and working in ordinary clothing in contemporary life. (For example, a student shouldn'tbe surprised if a novel portrays a Seminole girl whose father works a high-tech job at Kennedy Space Center.) Stories about grandparents passing on folklore and traditional crafts to young characters can be heart-warming, but don't let students assume, for example, that all Appalachians make quilts and livein remote hollows where everyone is a farmer or miner, as well as a gifted storyteller or ballad-singer.

4.  See advantages #2 and #9.Because people have strong emotional ties to literature theyknew in childhood, they sometimeshave trouble analyzing it objectively and don't want to critique their favorite stories

6.  They are infinitely meaningful.Because folk and fairy tales represent human experience through symbols and archetypes, there is room for endless debate about how to interpret particulartales. They provide excellent examples of the complex interplayof realism, fantasy, and symbolism in literature. They canbe analyzed in papers that do notrequire research, but there is also a wealth of recent research available on folklore, fairy tales and picture books. They canfunction as primary sources in complex research projects like any other literature.

7.  They link oral and written literatures of the world.  We often forget that allliterature developed from oral traditions, and most people in human history have had no writingsystem to record their languages and stories. Storytelling is still alive as an oral tradition in many places, especially in Appalachia. Folklore works well when teaching oral skills, speechand drama.

8. They link popular culture with many academic subjects and skills.  Almost every type of literary and cultural analysis has been applied to folklore, so short or familiar pieces from oral traditions can be used to introduce longer works of literature (many of which have mythological or folkloric roots

or learn other versions. It takessome time to realize that we can keep personal memories and preferences of our own while alsoappreciating the larger social implications, variations, and methods of interpreting traditional stories and poems.

5.  See advantage #9 again.Because so many people associate folk or fairy tales and nursery rhymes with early childhood, theymay assume that the content should be only entertaining and innocent, or that it should always teach lessons to children.Most folktales, nursery rhymes, ballads, and jokes were originally told by adults to other adults or mixed audiences (long before the Romantic conceptof childhood innocence came along).  Students may be shocked by the gory details and "adult themes" in many traditional talesand rhymes, but of course, these are the very elements young people enjoy if they get beyond misconceptions based on twentieth-century American ideas about literature written for children.

6.  See advantage #4 again.Because there are so many variants of any piece of folklore, it is easy to get the details in different versions mixed up in your head when you are discussing or writing about them. Remind students to read or

or themes), as well as topics in history, social studies, fine arts, and science. For example, Keepers of the Earth by Caduto and Bruchac links Native Americantales from different regions withenvironmental activities for children.

9.  They enhance transitions from childhood to adult life.  Short works from folklore can provide springboards as students move from writing about childhood experience to more complex types of analysis. They need to learn, as an important part of their heritage, that Disney versions and other widely available children's books and movies do not adequately represent the larger body of folklore that people of all ages have enjoyed for centuries.

10.  They unite children and adults.  Manytypes of folklore have been reprinted and adapted in children's books in the past couple centuries, while older children and adults who don't read or hear folklore or picture books often lose touch with exciting parts of their own culture.  Many recent storytellers, dramatists, and filmmakers (such as Tom Davenportand R. Rex Stephenson) endeavor to entertain the whole family, just as traditional storytellers have done around home or campfirefor generations. Among other

listen carefully.  In papers theymust identify the particular versions they are discussing (andcite them properly in research papers).

7.  There can be special problemswith research and documentation. Students may need extra instructions for documenting oral, audiovisual, and unpublished sources or picture books (which often have no page numbers).  Adapters, re-tellers, translators, and illustrators should be recognized when full citations are given in documentedpapers.

These pitfalls all provide valuable learningexperiences. Enjoy discussing, collecting,

retelling, or dramatizing folklore withyour students!

benefits of teaching with folklore, what more worthy goal is there for general education courses than to prepare young adults to share good stories and rhymes with the children in theirlives in the future?

Diagrams of Types of Folk LiteratureBy Tina L. Hanlon

Ferrum College

The following diagrams show how different types of folk literature overlap as tales are passed down from one generation to another and from one culture to another. If this drawing looks too complicated for your purposes, use the simplified diagram.

The black circles outline the major types of literature in the oral traditions. Myths deal with the creation of the universe, relationships between the human and the divine, and cosmic conflicts between good and evil or political power struggles. Folktales tend to focus more on the earthly adventures and fortunes of individuals rather than nations or souls, although supernatural villains and magical helpers often appear. Legends are associated with real people or places or historical events. These labels have been used very loosely in different times and places so you may find wide variations in stories called myths or folktales or legends. Religious beliefs and cultural bias may influence whether people object to calling their own stories or other groups' stories myths or legends.

Use the diagram below if you want to discuss types of folktales without dealing with their links with mythology or legend. You can remove some smaller circles if you aren't studying all these subtypes of folktales. Thelighter orange circle could be used to show how Jack Tales in European-American (especially Appalachian) traditions or John de Conquer tales in African-American traditions overlap with specific kinds of folktales.

For example, Jack is a fool, numbskull, or noodle-head in Foolish Jack and Jack and the Three Sillies. Jack and the ‘Hainted’ House is a ghost story. Jack and the Robbers or Jack and the Animals has talking animals like the European "Bremen Town Musicians." Jack Tales are sometimes called tall

tales when they contain exaggerated and humorous images and actions such asgiant beanstalks or bean trees (Jack and the Bean Tree) or helpers with superhuman abilities, as in Hardy Hardhead. Tales about Mutsmag or Nippy orMerrywise are closely related to Jack tales and the general tradition of märchen or wonder tales, in which royal or peasant heroes (usually ordinarypeople in Appalachia) overcome evil forces, make their fortune, and often find a wonderful spouse.

The same orange circle could be used to discuss trickster tales, since Jack, like Mutsmag, John de Conquer, Brer Rabbit, Terrapin (the turtle), Anansi and other spider heroes, is often a trickster who uses his wits to overcome opponents that are bigger or stronger than he is.

Simplified Version:

 Some examples to illustrate these types of tales and the ways they overlap:

"Cupid and Psyche" is a Roman story based on Greek myths in which Psyche gets involved with a god, Cupid or Eros. She is made to fall inlove with a monster but in the end gets to marry Cupid and become immortal. Very similar folktales are "Beauty and the Beast," "East of the Sun, West of the Moon," the Appalachian Whitebear Whittington, andother tales about marriage with a beast. The characters aren't immortal, but the beast is often an enchanted prince, nobleman, or princess (see also The Snake Princess and The Frog King). Other myths are about the creation of the universe, struggles between good and evil, and relationships between the human and the divine.

Some individual folktales are related to longer epics or sagas about great culture heroes. Jack the Giant Killer has been associated for centuries with legends of King Arthur. Tales of dragon slayers, such as Jack and the Fire Dragon, may be related to the Old English epic about Beowulf, who dies in battle with an underground dragon. St. George is one of the most famous European heroes, the patron saint of England, a knight who became a Christian saint throughout Europe. In some legends about him, said to occur in specific places, his slaying of the dragon inspires a people to convert to Christianity (and the dragon represents the devil in the Bible). St. George was the subject

of mummers' plays, medieval holiday folk performances that remained popular for centuries and were brought to America by European settlers.

Davy Crockett is a legendary hero (definitely a real person, in his case) who became the hero of tall tales in nineteenth-century America.Like other tall tale heroes, he could talk to animals and achieve superhuman feats, such as preventing a comet from hitting the earth orthawing out the earth when the machinery that makes it move was frozen. His fictional wife, Sally Ann Thunder Ann Whirlwind Crockett (or Polly Finley Thunder Whirlwind) is the heroine of tall tales that are also pourquoi tales explaining origins, or why things are the way they are—when she invents bald eagles, for example. (Pourquoi means whyin French.)

Many people pass on stories about their own family history, which may be realistic and true or may develop into comical noodlehead stories about foolish behavior, or ghost stories or other supernatural or magical tales. Donald Davis is a popular Appalachian storyteller who tells and publishes stories about his own family as well as traditional Jack Tales and other folktales (such as Jack and the Animals and Jack and Granny Ugly).

Other examples of Jack tales and trickster heroes are given on the page of simplified diagrams.

What do you think?

You and your students might change the relative sizes or positions of the circles, or add other circles, depending on which types of tales you are studying. For example, in many folk traditions, most of the culture heroes and other folktale characters are animals, so animal tales should have a bigger circle.

This page created 9/9/02. Last update: 2/17/03 copyright 2002 Tina L. Hanlon

TITLE: GETTING TO KNOW YOU

AUTHOR: Karen S. Greenhalgh, Coronado Elementary School Littleton, CO80127

GRADE LEVEL: First through Sixth, General

OVERVIEW: Introducing students to the teacher and each other. When students enter their classroom for the first time in the Fall, the need to know classmate's names and something about each other is very important.PURPOSE: To help children quickly get to know one another and set up an atmosphere for learning.

OBJECTIVES: Students will be able to call each other by name and tell something important about that person. Students will develop a sense of bonding and classroom trust earlier than might otherwise be felt. Students will be able to find a partner with similar interests for otheractivities throughout the remainder of the first day.

RESOURCES/MATERIALS: None (Space for circle/class list optional)

ACTIVITIES AND PROCEDURES: Students sit in a circle. One child starts by telling his/her name and something that they are interested in outside of school. (Children should be encouraged to speak loudly enough for everyone in the circle to hear them.) The student sitting next to the first child to speak now says the name and interest of the first person who has spoken and then says his/her name and interest. The third child must repeat the names and the interests of the first two children and then his/her own. And so it goes until all the children have had a turn. The students at the end of the circle will have a more challenging time due to the many names and interests, but it is perfectly all right to help any student who may need it. After all the children have said their names and interests, the teacher then will try to name and tell the interests of all the children inthe circle.

After completing the above activity, the teacher should ask the children to choose a partner. The partners will get together and talk about their summer activities. Where did they go? What did they do that was fun? What people did they see? What did they do that was hard? ETC. After five minutes have the children come back to the circle with their partner. Each child will tell at least one interesting thing about their partner's summer for the rest of the group to hear. The children should be cautioned to share with the entire group only those things which their partner had agreed is okay.

These short activities will hopefully encourage lots of class interaction and set the stage for learning activities to follow for the remainder of that very important FIRST DAY. The teacher will also profit from knowing much about his/her students so early in the year.

TYING IT ALL TOGETHER: Class book could be made with drawings (possible self-portraits) and anecdotes about the students. This book could easily be updated throughoutthe year.

Activities for Teaching with Folk Tales

Adventures in Time:Choose an historical event that occurred in the twentieth century that you could travel back in time to visit. Use your imagination and research to write an adventure log entry. Think about what you might see, taste, hear, smell, and touch in your chosen place. Your adventure log entry might include a description of the people, the area, and the general mood surrounding the event. Think about ways you might take part in this event. Make your entry as detailed and as evocative as you can, using accurate information and photographs, if possible. Choose one aspect of the adventure log entry you've written and create a television script. Follow example:

Scene: Date:Location:People Present:Description of Events:Dialogue:__________ : ________________________________________________________________________________ : ______________________________________________________________________

Collect your adventure log entry and script in a television program guide

or display your entry and script on a bulletin board display entitled "Don't Touch that Channel!" 

Family Tree (of sorts): 

Have you ever been told that you look, sound, or act like someone else in your family or have some other connection to someone in your family you've never even met? List four positive traits that you believe have been passedon to you from someone in your family. You can include physical traits, personality traits, or mental attitudes. Next to each trait write the name of the family member from whom you may have acquired these traits. Jot downas many details about the person that you can think of.  Organize your notes and write a one page essay, describing how you and the family member you listed connect. Write a strong introduction. Begin by introducing the person and conclude with a thesis statement that makes your connection to her or him clear. Be sure that all your supporting paragraphs use details to support your thesis. Display your four essays on a family tree poster with photographs and essays as part of the limbs of the tree. Your own photograph can be the roots of the tree. You might also put together a family tree photo album with photographs and essays.  

Activities Involving Art : Changing Roles. Art and Language Arts Activity.In this activity, students explore the folklore of different cultures.

WHAT YOU NEED

Sources of myths, folktales, traditional stories from various civilizations.

Materials for creating masks, such as paints, tag-board, scissors, glue, dowels.

Video recorders (optional)

WHAT TO DO

1. Tell students that they are going to put on a festival of the arts that celebrates the traditions of many cultures. To do so they are going to research myths, folktales, and traditional stories, then choose one to act out.

2. Form acting troupes of four each and have them choose names for themselves. Explain the guidelines for putting on the plays:

o Since each troupe will have about 10-15 minutes to perform, the first step is to summarize the action of the story.

o One performer narrates most of the story, while the other three pantomime the action, except for the climactic or final scene, which they act out with dialogue.

o The three actors play all the roles, wearing different masks to show which characters they are at different times.

3. Each troupe can make its own masks. Or you might prefer to have students especially skilled in the visual arts make all the masks. Actors should be able to hold them up before their faces on a stick, which can be rulers, dowels, or even tightly rolled-up newspapers.

4. Arrange a time for the festival and encourage performers to practice (and time) their plays before the dress rehearsal. Invite other classes and community members to the performance. Have students make posters, invitations, and souvenir programs.

TEACHING OPTIONS

Invite student artists to research historic clothing from ancient civilizations, to wear in the performance. After the dress rehearsal, have a panel of students, made up of one student from each troupe, discuss their plays, explaining why they chose the material they did, how they shaped it, and what they learned from presenting it. Have a similar panelanswer questions from the audience after the performance.

Copyright © 1997 Houghton Mifflin Company. All Rights Reserved.

1. Have students draw pictures of characters or scenes from one folktale after seeing our performance.  Then discuss any of the following issues:

Have them explain why they chose the details in their picture.   Compare the different choices of scenes or characters by

different students. Compare the different ways that students depicted the same scene

or character. Which scene(s) were the most popular when the students decided

what to draw? Why? Have children illustrate the picturesque speech in a tale they

have seen or heard.

2. Create a modern version of one folktale that could happen in your country.

3. Try acting out a version of one folktale.  (See below for suggestions for classroom dramatizations.)

4. Have a debate about how and why people like to be scared by stories. How do some tales scare us? How much disagreement is there among students about what frightens them? How does humor relieve or undercutthe horror in some tales? How does the performance create differencesbetween scaring the characters and scaring the audience? This topic can lead to further comparison of how book illustrations, performance methods, animation, or live-action films create frightening effects.

5. A Dramatization in the Classroom: There are a variety of ways that a performance can serve as a springboard for other dramatic activities in the classroom. You may start with a warm up. This time is used to allow the children to make the transition from classroom activity to dramatic play.

6. Have students write their own folktale.

Warm Up:  First, have students move the desks so that there will be a largefree space. This can be done quickly. Tell the children: "You are Jack and your desk is a valuable chest of gold. With a partner, hide the treasures on the outskirts of the room—quietly, so that no one will know you've hidden it."

Have children return to the center of the room and ask them to choose rolesas animals. Suggest some, such as:

Dog - cat - cow – duck Frog - chicken - fox

It is important at the beginning of the session that all participate as a group. If students are enjoying this, you may want to have them join in pairs to create other animals, such as:

Elephant - donkey – camel Pig - horse - sheep

Allow the children to show their animals to each other. You may also want to create an animal parade or a zoo.  If the children are enjoying being animals, you may want them to react to details about the environment, such as:

"It is winter." "It is dark." "It is raining."

Dramatization: When the warm-up session is over, return the children to thecenter of the room and have them sit on the floor. Pick one of the stories to dramatize. Since the warm-up session was about animals, you may want to

work on "Jack and the Robbers." Ask the children to retell the story to you. Be sure that each incident is retold. You may want to question the group to get the correct sequence or to insure that they understand the motivation of the characters.

"Why do you think Jack left home?" "What is the first animal he met?""If you were the rooster, would you go with Jack?  Why?""Why did Jack go back home?"

Use questions like these until the story is in the detail you think suitable for your grade level. You may want to have them act out various scenes as they retell them.

"Show me how you think the dog would walk." "Show me what would happen when a robber entered the house."

You can also ask them to make the sounds of the various animals in the story, or to dramatize a short scene like the one between Jack and his father.

When you are satisfied that the children know the story and are anxious to dramatize it, divide them into groups of five or six and ask each group to play through the story. You may want to act as the storyteller or let children volunteer for this important role.

KENTE CLOTH / THE KENTO The Ashanti weavers of Ghana make a beautiful material called "kente cloth"in which bright colors, especially yellow and gold, are woven into elaborate designs. Often, this cloth is used to create the Ashanti's traditional costume, called a "kento", which is a toga-like dress made of abed sheet size piece of cloth, wrapped around the body and tied in a knot on one shoulder. Both men and women wear the kento.

ADIRE ELEKO AND ADIRE ELESO CLOTH The Yoruba people of Nigeria produce a cloth called "Adire Eleko" by painting a cassava starch mixture in designs onto a white cloth. When the starch has dried, the cloth is dyed with indigo, made from the leaves of the indigo plant. The starched areas resist the dye while the background takes on color- a deep blue when dry. "Adire Eleso", or tie-dye, cloth is made by people in Togo, Ghana, and Nigeria by tightly stitching or tying off the fabric in areas that are to remain light, then dying the cloth as mentioned above. The various ways in which the "tying off" is done is responsible for many designs that are created.

Once made only for kings, kente (KEN-tay) cloth is still made by the Asante (a-SAn-tay) people of Ghana. The finely woven strips, made of rayon or silk, are sewn together, rolled up, and taken to market. This paper weaving uses colors similar to those found in kente cloth. It is very simple to make and looks great hanging on the wall.

    M A T E R I A L S   

Black or dark-colored constructionpaper, 12" x 18"

12 strips of construction paper, 12"x1",

as follows  : 3 red, 3 yellow, 6 green

Wooden dowel (1/4"), 16" long

Yarn, any color, 20" long

Fold the black construction paper inhalf. Cut 1"-wide slits starting at the folded edge and cutting up. Stop2" from the top. Open up the black paper. Fold about 1" of the top edge toward the back. Glue the edge to the back, leaving aspace for the dowel to pass through.At the bottom edge, cut a fringe about 1 1/2" in length. Begin weaving the colored strips in and out into the black paper. Row isunder, over, under, over until the end. Row 2 is over, under, over, under, until the end. Now repeat until complete. Use the colored strips to weave in this order: yellow, green, red, green. Repeat two more times for pattern. Slip the dowel into the folded over edge at the top. Tie the yarn onto

each end of the dowel.

Stitching and Weaving

STITCH A GARMET Lots of clothes around the world are very simply constructed. You can create several garments from a length of fabricand a needle and thread. Take a piece of fabric that is twice themeasurement from your shoulders to the floor, and fold it in half. Cut an opening for your head, and stitch under the arms and down the sides to make a robe such as boys and men wear throughout Africa and the Middle East. Ashorter piece of fabric can be turned into a "dashiki," a West African garment, worn with baggy pants.

Double a length of yarn and wrap it around a small piece of cardboard.

WEAVE A BELT

In many places around the world, clothing continues to be made from hand-woven textiles. From the narrow bands of kente cloth that are sewn together to make garments in Ghana to the fabrics woven from tie-dyed yarn known as ikat (ee-caht) in Indonesia, hand-weaving is an art that is still very much alive.

You can weave something to wear yourself. A belt is a good project to begin with.

Narrow woven bands are easy to make with a popsicle stick heddle loom. A single band can be worn as a belt, or several bands can be sewntogether along the edges to make placemats or small rugs.

Lift the heddle and pass this yarn through the opening. Now push the heddle down and pass the yarn back through the new opening. Pull the doubled yarn as you are weaving to bring the 17 strands together nice and tight.

Continue until your belt is the desired length. Cut the strands a few inches (10 cm) beyond the weaving and tie them together in twos. Do the same at the beginning of the belt.

Assemble the heddle from ten popsicle sticks, drilling an 1/8" (3 mm) hole in the middle of

eight of the sticks. Glue these with white glue as shown, Let dry.

Cut 17 strands of yarn 6 feet (2 m) long. Choose different colors for a striped effect. Tie the yarn at one end, then thread the heddle, with one strand through each hole and on either side of each stick.

        Pull the yarn evenly tight; knot the other end. Stretch the yarn between two objects, such as a doorknoband chair, so the strands are taut.

        Notice what happens then you lift the heddle, and when you push it down. The 17 strands separate to createtwo different openings.

To show pride in their heritage, young African-Americans and young Africans often wear a round hat called a kufi (KOO-fee). Some are made from kente (KEN-tay) cloth, a material made in Ghana. Making and wearing kufis is a great way to acknowledge the importance of Black History Month, celebrated in February in the United States.

    M A T E R I A L S   

Dark-colored construction paper forheadband

(24" long x 2" side)

6 strips of construction paper (12" long x1" wide) as follows: 2 red, 2 yellow, 2 green, or any other colors you wish

Scissors, stapler

Fit the headband snugly around your head, and staple together.

Arrange the six strips of colored paperso they overlap to form a wheel as shown. Staple at the center.

To connect to headband, place one stripalong the outside edge of the headband. Staple this down; then, do the same all way around.

ISHANGI FAMILY AFRICAN DANCERS

Writing a Tall Tale Use a long piece of cash register tape, or long paper from a wider

roll of blank paper. At the top of the paper, the students either drawpictures of themselves or attach a photograph, and at the bottom they can draw their feet or shoes. On the blank paper in between, the students can write a tall tale about themselves. These make an effective display, and the idea of stretching the truth in a tall taleis obvious!

Write Your Own Tall Tale in the Tall Tales web site (from Hortonville,WI schools) provides a template with prompts for students to write their own tales. This format, in addition to emphasizing exaggeration,encourages students to use descriptive language while identifying the hero, place the tale in a particular state or region, and focus the plot on a problem the hero solves. See below for template.

Keep on Writing!The KEY to a tall tale is EXAGGERATION.Your first step is to choose a tall tale hero. Remember, the key is to EXAGGERATE your hero's characteristics. Make him or her bigger or stronger or faster or smarter than anyone else! Now you need an adventure for your tall tale hero. Once again, the key is to EXAGGERATE. The main event of a tall tale is not something that can happen in real life.  Use the story pattern to help in writing your own Tall Tale.  ______________________________________was the ________________________________ (Name of tall tale hero) (describing words like: toughest, smartest) man/woman in the state of _________________________________(state name) . Everyone for  miles around knew _____________________________________________ and loved to tell and

(hero's name) retell of his/her amazing feats. Now one day _________________________________________

(hero's name) went to visit __________________________________ . ___________________________ had been

(2nd character's name) (2nd character's name) having big problems with ___________________________________________________________________________________________________________________________________________________________________________________________________________________________ .

________________________________ explained his/her problem. That was all it took. Right away,(2nd character's name) ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ (how the hero solved the problem) ___________________________________________________ problem was solved, andthe folks in (2nd character's name) _______________________________ now had a new tale to tell about ______________________ .(state name) (hero's name) Created by D. Hietpas on 8/9/00

Language Arts Activity: Class MascotChildren will create their own tales to tell using a class mascot for inspiration.

WHAT YOU NEED:A class mascot A backpack A notebook of ruled paper

WHAT TO DO: Choose a particular stuffed animal or toy as a class mascot and have children decide upon a name for their new friend. Then brainstorm with children some background information about the mascot.

Some ideas might be:

Where and when it was born All about its family What its personality is like How it got its distinctive features Its best friends What it likes to do Where it has already traveled

Each child will then write a paragraph or two, embellishing upon one of theideas discussed (or any other idea).

Next, explain to children that they will take turns bringing home the mascot and notebook. In the notebook, they are to write their own tale about an adventure the mascot had or something it did. The tale could be about a trip to the dentist or an amusement park. How about a ride on a giant bird!

Encourage them to let their imaginations fly. Also, suggest to children that they refer to the information written in class for ideas or details touse in their tales.

Show children the backpack and explain what's inside (in addition to the mascot and notebook):

Information they wrote in class about the mascot: A note to parents explaining what to do A list of items that should be returned to school

You might want to keep a list of the dates children take the mascot home and when the mascot should be returned. Each time the mascot returns to school, set aside some special time for the child to tell or read the tale to the rest of the class.

TEACHING OPTIONS After everyone has written a tale, print each one on a construction paper panel, fastening the individual panels together to form a story quilt. Children could also make panels to illustrate their mascot's adventures.

Make a story caterpillar with each adventure printed on round body sections. Create a story scroll - the adventures are all written on a 9- or 12-inch roll of paper. As the adventures add up, the scroll gets longer and longer.

Copyright © 1997 Houghton Mifflin Company. All Rights Reserved.

1. STRING SOMEONE ALONG WITH A STRING STORY '"The Cat's Cradle" is one of the most well known string stories. No one knows exactly where it came from; the Chinese call it "well rope" and the Koreans call it "woof taking." The four most well known figures are the Cat's Cradle, the Soldier's Bed (in France it's called "Scissors"), Cat's Eye (in England it's called "Diamonds"), and Fish-in-a-Dish. 2. A STUDY OF ANANSI THE SPIDER Secure a selection of trickster tales in which Anansi plays the key role. There are many picture books available, including Gerald McDermott's Caldecott award winning Anansi the Spider . Keep track of the transformations of the spider (changing shape and form), the way the spider plays its tricks to get what it wants, the other characters in the story, and so on.3. THE DILEMMA TALE Select a good story and read it just so far and then close the book. Have students suggest a variety of solutions. After the suggestions, read the ending that the book provides. This can lead to many versions of the same tale, and students can begin to get an inkling of why many tales are similar yet different. This can lead to "Story Starters" where just the first sentence or paragraph is given.

Message Drums By: Catherine Schmidt-Jones Summary: For early primary students, an introduction to message drums, suitable for inclusion in a unit on music, percussion, communication, history, or world cultures.

Introduction and OverviewThis module gives an explanation of and an activity about message drums suitable for presentation to children from preschool to middle school level. Uses for this Module:

Music- Alone as a music class or part of a unit on percussion, or traditional music from around the world Social Studies- As part of a unit on world cultures (message drums were independently invented in several different places, including Africa, Asia, and the Americas), language and messages in different cultures, or the history of communication Math/Science- As part of a unit on codes and messages Language Arts- As part of a unit on language, communication, and messages. Some of the activities are appropriate for a unit on poetry, to help the students feel the rhythm and meter in language.

Introducing the SubjectGive the students copies of the "Slit Gong Message Drum" handout below. Tell your students: Before telephones and email, before cars, planes, trains, television, radio, or even telegraph, sending messages quickly across a distance was not easy. Different cultures solved this problem in different ways. Have the students brainstorm to see how many of these old methods of communicating they can name. (Some possibilities they may come up with, or you can suggest if they have trouble naming any: special runners or pony-express-style riders; signal towers, signal fires, smoke signals, and semaphore.)

Tell your students: Several cultures around the world discovered a way to send messages that could be heard over great distances. These cultures lived in places where very big trees grew. People in different parts of Africa, Asia, the Pacific Rim, and the Americas sent messages using drums made out of huge logs. They would take a log from a large tree; the bigger the log, the bigger its sound would be and the farther it could be heard. Along slit would be cut in the side of the log, and the log would be hollowed out through the slit, leaving wooden ledges, or lips, on each sideof the slit. If they wanted the drum to be able to make a lower note and a higher note, they would hollow it out more under one lip than under the other. To play messages, they beat on the drum's lips with sticks, beating out rhythms of high and low notes. These giant log drums are sometimes called "talking drums", but they are completely different from the famous talking drums of western Africa. Technically speaking, the message-sending logs are not drums at all, since they do not have a thin skin or membrane that vibrates when they are beaten. Instead, the entire log vibrates like abig cylindrical gong, so musicologists call this type of instrument a slit gong.

Each culture that used these slit gongs developed a message "language". Thevillages that used the drums would agree on a sort of code of drum "sentences". Sometimes the drum message sounded like a real sentence, but without the words. For example, "the river is flooding" might sound like "da-DUM-da-da-DUM-da". To keep messages from sounding too much alike, they sometimes used very long, descriptive sentences to translate into their drum language. Messages could be relayed from village to village, but if the message traveled to an area where a different language was spoken, it might not be understood anymore.

After this introductory discussion, you may have the students draw on and color the Message Drum handout. Give the following suggestions: Finish the picture on the handout by filling in details. Use your imagination. Many message drums have carvings of animals or of a face at each end. They are

played by someone using a big stick or beater. Often there are small standsunder each end of the drum to keep it off of the ground and let it vibrate more freely. Many message drums are kept in a shed so that they don't get rained on. Add some of these details and then color your picture. You may also want to do "The Rhythms of Language" activity from Talking Drums and/or the "Make a Drum Code" activity below.

Activity: Make a Drum Code: Materials and Preparation. Be prepared for anoisy activity!

Each group will need pencils and paper. You will need something to drum on and something to drum with. The class can take turns with one set of "drums" in order to reduce the noise level. Or each group can have its own drums, so that they can practice and test possible message codes. A wooden "tongue drum" is ideal, since this is basically a small box version of a slit gong, butany drums that can produce two or three different pitches (a set of bongos for example) will do. Homemade percussion (e.g. drumming on twodifferent sized pots with a wooden spoon) is fine, too. For more ideas, see the module on homemade percussion, coming soon.

Procedure: Tell the class to imagine that they live in small villages a few miles apart. There are no telephones, radios, email, or TV. Usually, if they wantto talk to their friends in the next village, they have to walk there to doit. But sometimes they might just want to send a message that their friendswill get right away. They need to develop a code that both villages know. Suggest keeping the codes short and simple for clarity, and remind them that there are two ways to make messages sound different from each other: using the two different notes and making the rhythm different.

Have the class brainstorm about messages that might be useful to send. Emergency messages like "send the doctor", news like "strangers have arrived", and everyday messages like "I'll be home late" are all acceptable.

Figure 1 This work is licensed under a Creative Commons License. Copyright: Catherine Schmidt-Jones

Divide the class into small groups (3 to 6 students per group). Each groupis to develop a code of three to ten messages. (You decide the number, based on age, attention span, and class period length.) They decide which messages they would like to be able to send, and what rhythm stands for each message. Have older children invent a way to write the code down so that they can remember it.

After a suitable period of time, reassemble the class. Give each group a chance to show off their message code. When it is a group's turn, they split into message senders and receivers, on opposite sides of the room. (Let them take turns if there is time.) For older students, make sure both groups have a copy of their written code as a reminder. You stand with the senders and point to or whisper which message they should send. Have them beat the message on the drum(s) and see if the receivers can name the message correctly. Be prepared for some NOISE!

Activity:     "Create an Instrument"

This man is playing a talking drum. He can make it sound high or low by squeezing his arm against the strings. In Africa, the talking drums are usedto send messages between

Africans believe that music is very important. Music is used for storytelling, dancing, working, and celebrating. Some of the instruments which Africans use are drums, rattles, whistles and bells. Africans also use their own bodies as instruments. They can makenoises with their hands, feet, and mouths by stamping, shouting or clapping. The Ishangi family uses fifteen different instruments in this show! There are many drums.

the villages. This rattle is called akaya. It is made from a dried-out gourd. The akayahas beads tied to a net onthe outside. The akaya rattles when the beads rubagainst the outside of thegourd.

The Ishangi African Dancers use the following traditional African instruments in their performances: Talking Drum Kora Cow BellBalaphone Kalimba Baba DrumIya Drum Impala Horn Metal RattleAfrican Violin Large Drum Sikeri

Each of these was created by people for a specific purpose and to produce a specific sound. Using paper, wood, cardboard, plastic bottles, yarn, string, or any other material, create your own unique instrument. Explain how it would be played, for what purpose it was created, what sound it makes, what name you have given it,

and what country (your choice) it would have come from and why.

Copyright by the ISHANGI FAMILY AFRICAN DANCERS

Class Discussion

1. Exaggeration and Humor. While reading one or more examples of tall talesto the class, discuss which elements of the story are not real or true. Make a list of specific examples of exaggeration. By noting the examples ofexaggeration, students will develop a definition for tall tales, which willhelp them understand that no one is expected to believe a tall tale becausethe charm of the story lies in its being so impossible that it couldn't be believed. Students may want to collect or tell examples of tall tales with similar exaggerations.

How do the storytellers in tall tales often push us to believe the tales even though we laugh because we know their stories are too incredible to believe? Point out examples where the narrator claims to know the characters (e.g., at the end of many Jack tales) or makes jokes such as

"every single word is true, unless it is false" (Rosalyn Schanzer, Davy Crockett Saves the World).

Let students compare their own responses on which details they find most humorous in the tales you discuss.

2. Plot Structure. Use the tall tales as models for students to explore andidentify story elements that can be found in other types of literature. Have students read several tall tales on their own, or read to each other. Then they can explain examples of plot elements such as introduction (establishing place, setting characters), rising action, climax, falling action, and conclusion. If you need to simplify this traditional model, usethe words "beginning," "problem," and "solution" or "outcome." Write or diagram this conventional plot structure on the blackboard so you can circle terms or add notes as students provide examples. Or use the printable diagram The Five Elements of a Story Lesson Plan. (below)

Students who need more concrete representation of story elements might illustrate each element and place them in a sequence. Beware of complications that could arise with retellings that contain a series of portraits or anecdotes (as in The Bunyans), rather than a unified plot of conflict and resolution. Illustrations from the story may be drawn as a pre-writing activity.

3. Comparing Characters and Plots. Look more closely at characters and actions to see how Jack tales (or other tales you study) are different fromtypical tall tales. Before a discussion of differences, you might ask each student to write or outline a character sketch of one character, or make a drawing of that character (good preparation for writing their own tales as well). Some questions to consider:

Is Jack like other tall tale heroes when he grows a giant beanstalk, or when he catches Death in a sack in "Soldier Jack"?

Does relying on gifts of magic help (sometimes earned through a kindness to strangers) make Jack different from tall tale heroes who are born with superhuman strengths? (a striking example for contrast: Jack gets magic gifts to make his family comfortable during the winterbut learns to give up his goal of stopping the wind in "Jack and the North West Wind." Some tall tale heroes harness the wind or cause tornadoes.)

Are Jack's helpers sometimes like tall tale characters on a smaller scale (e.g., Hardy Hardhead, Seewell, Runwell, Drinkwell in "Hardy Hardhead")?

Does Jack (or Mutsmag, the female giant-killer) use tricks to achieve his goals because he's not physically strong like tall tale heroes when he needs to defeat giants and other powerful enemies?

Are some tall tale heroes like Jack and Mutsmag when they accomplish incredible feats to help others?

Are there pourquoi elements in any Jack tales? (e.g., swamp gas is explained in "Wicked Jack," which Chase calls "Wicked John and the Devil." In American Folk Tales and Songs, Chase shows that some versions explain the origins of Jack-o-lanterns.) Does Jack usually help himself and his family instead of changing nature or inventing something new to improve society?

Ask students if they would prefer to be like Jack (or Mutsmag) or one of the tall tale heroes. Some may aspire to be superheroes and some may identify with the little guy who overcomes the odds to win out.

4. Regional Details. Do your tales contain references to specific places? If not, are there details of landscape, climate, wildlife, plant life, or characters' occupations and customs that have a more general regional significance?

If you want to pursue this topic in more depth, you can bring in a little or a lot of the existing historical research on the environment of your tale. Ask students what details they would include if they were setting one of the tales in their own community. This can be good preparation for using details of setting in their own tales.

5. Language. To reveal other regional and stylistic elements, ask students to compare examples of speech used in the tale with examples of standard English. They will need to look at written copies of the tales, but sometimes dialect features are more noticeable to listeners when they hear a tale being told or read (on an audio recording, perhaps.) It can be fascinating once you get into the rhythm of listening to a new voice or dialect. Have students look at written tales for spellings that indicate pronunciation, as well as regional vocabulary, nonstandard grammatical constructions and colorful or metaphorical regional expressions. Note that in some books (not in Chase's Jack Tales but in Swamp Angel, for example), the narration is in standard English while nonstandard dialect features appear in the dialogue. Encourage students to use their own conversational speech patterns in the tales they write. If they are clever enough to imitate the language patterns of a book they are reading, or perhaps use colorful expressions from older people they know—great. But if they lack the confidence to be that creative, or they have negative attitudes about trying to write their story in "bad English," ask them to stick to language

that comes naturally to them when they tell a story to a friend. (And don'tlet them call anyone's native dialect bad or incorrect.)

6. More Themes. Depending on where earlier discussions have taken you and how much time you have, extend your discussions by asking students whether they agree with people who say tall tales are so silly, illogical and unbelievable that they are "just for fun." Consider any of the following questions:

Why do they think stories about defeating giants or steam engines or comets have been so popular for many generations? What do these tales reveal about things people fear, or hope for?

Why do people invent characters that are stronger than wild animals orforces of nature in some tales? Why might some motives have been stronger a hundred or more years ago than they are today? Are we saferfrom natural dangers today or not? If we have easier lives, do we haveeven more reason to find ways to prove or fantasize about our strengthand courage (through sports, daredevil stunts, fantasy and survivor games, science fiction and adventure stories in TV or films)?

Tall tales seem illogical or nonsensical, but their pourquoi elements also show that people love to invent explanations for everything around them. What do pourquoi plot lines in tall tales or other tales reveal about our urge to tell stories about our world, whether or not we know scientific explanations for natural phenomena? (You can discuss this topic without going into debates about religious faith orscience.)

Which tales contain the most admirable examples of courage, or generosity or devotion?

Why do people sometimes like stories that don't have such strong, positive morals? Why do we like to laugh at or with characters who arefoolish or naive or lucky or conceited, when they don't have such admirable motives? Why do we laugh at tales about battles between the sexes (as in the tales of Willie Monroe by Schroeder and Sally Ann Thunder Ann Whirlwind Crockett by Kellogg)?

Questions like these might be meaningful to discuss after students have written their own tales and shared them with the class. It should increase enjoyment, not spoil the fun, to debate some of these weightier issues.

PROBLEM-SOLVING:

Encourage students to figure out an alternate ending for each of the stories whereby all characters are winners. First, decide on a version to use. Then make a chart listing each character; then list the needs of each character and ways to achieve his or her needs. For example, Jack, his mother, the giant and his wife, all need food. Instead of the giant and hiswife eating people, they should try to add other foods to their diets.

Kindergarten students responded to this activity using Jack and the Wonder Beans. Here are some of the answers they gave to solve Jack's problems and the giant's problems:

Solutions for Jack         

Solutions for the Giant

Eat beans on the vineGo to church and ask for foodGet on welfareSold Milky White herselfTrade with the GiantShow Jack how to plantBe a friend to the giant

 

Eat beansEat animals, not peoplePlay outside and be happyHave some kidsShare wealth with JackTrust Jack

Once students have solved Jack's problem, decide on an ending. They can write the ending and then perform a skit to illustrate it, or draw pictures.

ALTERNATE ENDING:

Once upon a time Jack went to sell his cow because she had gone dry. He traded for some magic beans because no one had any money. His mother wasn'ttoo happy, but after talking, Jack and his mother thought something magic might grow if they planted the beans in good soil and watered them regularly. Sure enough, the next day a huge beanstalk had grown to the sky.Jack climbed the stalk and when he knocked on the door, the giant's wife said, "Come in dear; you're just in time for dinner." Jack ate with the giant and his wife who were so happy to have company (especially since the company was a kid). After dinner the giant got out his gold money. He couldn't count too high, so Jack helped him count it. Since Jack was so efficient, the giant gave him some of the money. Jack said everyone back home was so poor that they had barely any food to eat. So the giant and his

wife climbed down the beanstalk with food, money and seeds to plant. The people worked with the giant and his wife and soon their tended gardens grew. They bought farm animals. And for the rest of Jack's life, he and hismother spent their vacations visiting the Giant's home and the Giant and his wife visited Jack and his mother, too. They all lived happily ever after.

QUIZ ON ANANSI TALES

Study the questions below and write down your answers to discuss.

Lesson 1: Quiz on Anansi's Stories

1. Who were the people who started to tell these stories? 2. What were the stories called and why? 3. What does Ananse ask Tiger to do? 4. Why does Tiger feel sorry for Ananse? 5. What does Tiger tell Ananse to do in order to get something named

after him? 6. Why does Tiger hate Snake? 7. What would you do in Ananse's place? 8. Explain how Ananse gets Snake to allow him to tie-up Snake's tail and

head. 9. Research on the web who the Ashanti are and where they live. 10. What are the meanings of this story?

Activities: Draw and color or paint a class mural showing different

African animals in their natural habitats. Include the desert, sahel, savanna, and rain forest.

Research the wildlife of Africa. Report on endangered andflourishing species.

Make animal masks using cardboard, paper plates, construction paper, paper mache, yarn, paint, etc. "Become" your animal and tell "your" story.

Create African animals in paper mache. Make them "at home" by designating areas of the classroom to be different habitats and decorating appropriately with cardboard "trees," paper "sand dunes,"etc.

Decorate t-shirts to show your support for endangered animals and habitats.

The Name Game African families are often large, and it is common for more than one generation to live together. Many Africans groups believe that "age is wisdom" and they show respect to the elders of the family and community. The elders make the important decisions in the family, while other family members act as advisors. Nigeria's Yoruba people live in extended families with paternal grandparents, parents, sons, daughters, and cousins, and their families living together in one large house. All are considered to be "brothers" and "sisters" and are responsible for one another. Africans hold ceremonies for important events - birth, coming of age,marriage, and death - just as we do. Many African peoples have ceremonies connected with the naming of a child. African names tell a lot about when a person was born, how many brothers and sisters were born before her, and even something about her parents. The Akan people of Ghana belong to large clans, or extended families,whose descent is claimed through the mother's line of the family (unlike the more common custom of taking last names through the father's line of the family). A newborn is given a name or several names in a ceremony heldone week after birth. One name may identify the day of the week on which he was born. Another name may identify whether he was born first, second, third, or fourth in the family. A child may be given still more names related to physical features, the circumstances of birth, and the family'sposition in the community. Day names correspond to the day of the week on which the child was born and differ for boys and girls:Birth Day Sunday Monday Tuesday Wednesday Thursday Friday Saturday

Boy's Day Name KwasiKwadwo Kwabena Kwaku Yaw Kofi Kwame

Girl's Day Name AkosuaAdwoaAbenaaAkuaYaaAfuaAmma

Names are given for the position of a child's birth among brothers and sisters: Position Firstborn 2nd born 3rd born 4th born

Boy's NamePiesieManuMensaAnane

Girl's NameMiesieMaanuMansaAnane

5th born Num Numwaa

In Your Classroom:

Have the students derive their "Akan names" based on the days of the week they were born, their birth positions, their mothers' maiden names, and some special talent or ability they have. Have students design a name plate using their new names.

Copyright: ISHANGI FAMILY AFRICAN DANCERS

Life in Africa

"The Silent Trade" Near long-ago Timbuktu along the Niger River, Arab traders used topile their slabs of salt in neat rows and pound on drums to invitethe gold merchants to trade. Then the Arabs would ride away on their camels. When the Arabs were out of sight, the gold merchants would arrive,examine the piles of salt, and leave some of their gold before hiding nearby. The Arabs would return and decide if enough gold had been left as an offer of trade for their salt. If it was enough, they would take the gold and leave. If not, they beat their drums to suggest a second round of bartering. In this way, the West African and Arab traders would swap gold for salt withoutmeeting face to face or having discussion. Activities:

Imagine you are a newspaper reporter on assignment in Timbuktu. Write an on-the-scene report for your hometown paper describing "the silent trade."

Write a journal entry about trading salt for gold from the point of view of an Arab or a West African trader.

Discuss the barter system of America's past. Compare and contrast this to the ways people and nations trade today.

To what does the term "he's not worth his salt" refer? (Ancient Roman soldiers were paid a salary, which was a salt allotment. Why?)

Illustrate a salt/gold exchange on the Niger near Timbukto.

PROVERBS You cannot catch flies with vinegar, but you can catch

them with honey. No matter how long the night, the day is sure to come. No matter how old you become, you never become older than

your mother or father. Never solve a problem with a problem. Fire and gunpowder cannot shake hands. If you argue with a fool, a third person will come along

and not know who the fool is. The early bird catches all the worms. When the children are hungry, the mother does not eat.

ACTIVITY: Body Tracings with Traditional African Dress

OverviewThis activity entails tracing the student's body and then allowing the student to add traditional West African dress and body decorations on the

tracing. This activity provides practice in fine motor and visual discrimination skills, shape identification, and use of color.

Materials brown butcher paper (white, if brown is not available) crayons, markers, and/or tempera paint scissors pencils attribute shapes children's books representing traditional African dress: examples

include Ashanti to Zulu by Margaret Musgrove; The Village of Round andSquare Houses by Ann Grifalconi.

Procedure:1. Read a story or two to the class containing pictures of people in

traditional West African dress. If possible, have additional pictures of West Africans for the class to observe.

2. Discuss with the class how West Africans dress. What type of ornamental accessories can one see? What are some of the shapes in thefabric patterns? How is the style of dress different than that worn bythe class?

3. Explain to the class they are going to make pictures of West Africans using their own body tracings. The attribute shapes will be used to trace the shapes in the fabric, necklaces, bracelets and other ornamental accessories. Ask the students what they think their body tracings should have on them... turban, long wrap-around skirt, jewelry, etc.

4. With sheets of butcher paper and pencils, each student can trace the body of another student. Trace in close trying to get the shape of simply the body.

5. The students are to then design and decorate their body tracings with traditional West African attire. Use the attribute shapes to trace theshapes used in the clothing or accessories. The colors should be bright. If brown butcher paper is not being used then the skin coloring of the tracing should be colored brown.

6. When the tracings are completed, the students are to cut them out and they can be hung around the room.

ACTIVITY: Wall Story of Anansi the Spider

OverviewThis activity involves the students in reproducing a part of the story Anansi the Spider. It incorporates cooperative learning, fine motor skills,pre-reading, and writing skills.

Materials Anansi the Spider by Gerald McDermott spiders

o construction paper o geometric patterns/shapes to trace o scissors o glue o sentence strips o magic markers

web o butcher paper o yarn o scissors o glue

Teacher Preparation1. Teacher should have all materials and supplies set up at eight work

stations. Eight groups will be working at the same time. 2. Set up seven stations to make spiders (Anansi and six sons; see

materials). Spiders can be made out of colored construction paper. Students may trace shapes, cut out, and assemble to form the spiders. Teacher or students will write on a sentence strip the name of the spider made.

3. Set up one large work area where the web is to be made (see materials). The web can be made on a sheet of butcher paper. The teacher should draw out a simple web with a marker. Students can then-working from the center of the web outwards- follow the marker lines with glue and place yarn on top of the glue.

Procedure1. Read the story Anansi the Spider by Gerald McDermott.

2. Discuss the story, making sure to review Anansi and his six sons. Discuss why the sons had particular names. How did they help Anansi when he got into trouble?

3. Explain to the class that they are going to make a wall story to represent the story Anansi the Spider.

4. Divide the class up in teams to make the following: Anansi, See Trouble, Road Builder, River Drinker, Game Skinner, Stone Thrower, Cushion, Spider Web.

5. When the web is finished Anansi will be glued in the middle and the other groups can glue the six sons around him. Glue the appropriate name card by each spider.

Extensions Make a wall story which sequences the whole story. Students could make individual picture books of the story.

ACTIVITY: The Language of the Yoruba People

OverviewThis activity lists some ideas for exposing the students to the language ofone of the tribes in Nigeria. From making a number book to learning simple phrases, the students can get an idea of the Yorubian language.

Teacher BackgroundThere are some 250 different tribes in Nigeria. The three major ethnic groups are Hausa-Fulani, Ibo, and Yoruba. Although the official language inNigeria is English there are different languages among the people. Here aresome examples of the language of the Yoruba group. Pronunciation: Vowels and Consonants

a = ah e = a (tape) e = e (let) i = e (pet)o = o (toe) o = a (tall) u = oo (too) p = kp

Common Expressions:

Hello = Pele How are you? = Se da da ni?Good morning = Karo Good night = Odaro

Please = Jowo Thank you = A dupeI love you = Mo feran re Good-bye = OdaboWhat is your name? = Kini oruko re? My name is _____. = Oruko mi ni _____.How old are you? = Omo odun melo ni o? I am ____ years old. = Omo odun ____ ni mi.

Numbers:

1 = okan 2 = eji 3 = eta 4 = erin5 = arun 6 = efa 7 = eje

8 = ejo9 = esan 10 = ewa 11 = okanla 12 = ejila

This is my ____. Eyi ni _____ mi.

mother = iya sister = anti father = babateacher = oluko brother = egbon friend = ore

Information from Children are Children are Children. Boston: Little Brown and Company, 1978.

Materials (Depending on the activity, a variety of materials may be used) construction paper scissors crayons, markers, paint glue

Procedure1. Develop a big book using the number words. The English equivalent can

be included on the page as well as the numeral. Illustrations can be that of items common to Nigerians or West Africans (i.e., drums, dwellings, corn, etc.).

2. Make a game using sentence strips of the phrases listed both in English and Yoruba. A chart listing everything might be necessary.

3. Students may make individual books. They can copy down the words and illustrate.

ACTIVITY: Making Traditional African Drums

OverviewDrums are a very important part of African culture. They come in many sizesand shapes, which all make different sounds. Students will experience thesedifferent sounds by making drums out of a variety of household materials.

Teacher BackgroundWest Africa is known for drums and drummers. In Nigeria and Ghana drums areplayed for celebration, to announce the coming and going of visitors, to praise and honor important people, and to warn of danger.

A master drummer always has the leading drum called the Iya Ilu. It is decorated with jingling bells around the drumhead. The drum is two-headed, wide at the top and narrow at the bottom, with cords stretched down the length of the drum. When the drummer presses on the cords of this drum, thedrumheads tighten and make a high and sharp sound. When the drummer loosenshis hold, the sound is low. The master drummer plays the drum so well that the sounds from the drum are like words in the Yoruba language.

Materials drum bases

o coffee cans oatmeal containers o tennis ball cans margarine tubs o Pringle potato chip cans ham cans

drum tops o plastic lids oil cloth o canvas scraps of leather

decorating o felt construction paper o fabric scraps paint o yarn scissors o glue tape

Procedure1. Make, in advance, a chart showing the different types of drums. Write

the names of the drums under each picture. (Refer to Talking Drums of Africa by Christine Price or a similar resource on African drums.)

2. Read Talking Drums of Africa to the class. Point out on the chart the different types of drums as the book describes them.

3. Discuss the different sizes, shapes, and sounds that the drums make. 4. Discuss with the class how a drum can be made from different household

containers... Does the sound depend on the size and shape of the container?

5. Let each student choose a container.

6. Set out a variety of arts and craft supplies students may decorate their drums with: paint, construction paper, felt, fabric, etc.

7. Allow students to decorate their drums. 8. When drums are finished and dry, have an African celebration using the

drums.

Extensions Have students listen to the sound made by different shaped drums. Have the students practice playing on their drums using their hands,

sticks, pencils, etc. The teacher beats out a rhythm pattern and the students repeat the

same pattern. Students can make up their own rhythm patterns on the drum.

ACTIVITY: Making African Shakers

OverviewStudents will make a variety of musical shakers out of household materials.The sound that comes from the shakers will be determined by the materials used to make them. This activity reinforces auditory discrimination skills,math concepts and fine motor skills.

Materials shaker containers

o tin cans bandage cans small juice boxeso Legg's containers small boxes

shaker fillings o nuts popcorn dried beans o rice beads buttons

decorating o construction paper paint old ribbono rick-rack glue/tape fabric scraps

Procedure1. The teacher makes, in advance, three examples of shakers. Fill the

shakers with different materials. 2. Pass the shakers around, letting the students experience the sound and

feel of the shakers.

3. Talk about the sound that comes from each shaker. Ask the students to guess what is inside the shaker.

4. Explain to the class how they can make a shaker out of cans, boxes, etc. Have students fill their shakers with only one kind of filling sothey can experience the distinct sounds that can be produced.

5. When shakers are finished and dry, have students share their shakers with the class. Students can try to guess what is inside.

6. Play some of the following games to increase students' auditory discrimination skills:

o Divide students into groups according to the sound their instruments make. Be sure to get the students involved in this process. Each group can shake their instruments at different times. Can students hear the sound differences? Which shakers make the loudest sounds? Which shakers make the softest sounds? The class can write a language experience story to go along with the lesson.

o The teacher and each student should have a shaker for this activity. The teacher makes a sound pattern with the shaker. Students try to repeat the same rhythmic pattern.

o Make a chart of simple number patterns using numbers 1, 2, and 3.For example, use the pattern (1-1, 2-2, 3-3, 1-1, 2-2, 3-3). Divide the class into three groups. Give each group a number (one, two, or three). Have each group shake their instruments each time their number appears on the chart. Make the number patterns more difficult as students progress.

ACTIVITY: Traditional African Masks

OverviewStudents will design and make African masks using paper mache. Masks can bedecorated with paint, feathers, and sequins. This activity will take three to four days.

Teacher BackgroundMasks are used in ceremonies as a way of appealing to the spirits. Through rituals and ceremonies a masked individual can attempt to speak directly tothe spirits asking for help, or celebrating and giving thanks. Ceremonies are performed to ward off drought and disease, to encourage a plentiful harvest, to worship ancestors, and to announce births and deaths.

Material small balloons (enough for half the class), large enough to fit over

face old newspapers wheat paste paint feathers sequins pictures of African masks

Procedure1. Find pictures of West African masks. (e.g., old National Geographic,

or purchase Cut and Make African Masks in Full Color by A. G. Smith and Josie Hazen, Dover Publications)

2. Blow up enough balloons for half the class. Put aside in a large garbage bag. Students will work together in pairs to paper-mache each balloon. When dry, the balloons will be cut in half to make two masks.

3. Talk with the students about why masks are used. Show pictures of African masks discussing the colors and designs of the different masks.

4. Explain the paper-mache activity to the students.

Directions for paper-mache:

1. Blow up and knot a balloon. 2. Tear newspaper into approximately 1"-x-6" strips. 3. Mix wheat paste according to directions on package. 4. Saturate strips in wheat paste mixture and begin to cover the

balloon. 5. After the first coat dries, preferably overnight, apply a second

coat and a third if necessary. 5. When balloons are completely dry use a bread knife to cut the balloons

in half. 6. Use an exacto knife to cut holes for the eyes. 7. Set out a variety of paints and brush sizes. Let students work in

small groups to paint their masks. 8. When the paint is dry, students may add feathers and sequins. 9. Masks may be worn if string is attached, or hung.

ACTIVITY: Experimenting with Color (Science Center)

OverviewColor is very important to the people of Africa. Throughout their history they used berries and plants to make dyes for their fabrics. This is a science activity to help students understand color and color combinations. The students also get acquainted with the concept of recording what they have learned. This activity lends itself to being a good science station. Just have the materials ready and explain to the class what they are to do.They can then explore and learn about color.

Materials paper coffee filters primary food colorings: blue, red, yellow; mixed with water small jars (e.g., baby food jars) eye droppers recording sheets (colors used --------- colors made) crayons

Procedure1. For this activity the students are to choose from the three primary

food colorings and mix them on the coffee filter to form new colors. The student places two drops of the color onto the coffee filter with the eye droppers. They will discover new colors as a result (i.e., blue and yellow makes green, etc.).

2. As the student uses the food coloring he/she can record what they learn. On the left side of the recording sheet color in the food coloring used, and on the right side the colors that came as a result of combining the two different colors.

3. As the student finishes with one coffee filter, it will need to be hung to dry. The student then can experiment using another filter and recording on a new sheet. The teacher may want to mark the filters with the students' names in permanent ink.

4. When the filters are dry, put each filter and its corresponding recording sheet together. Display these in the room and/or send them home to show parents.

Extension Students can make faces or flowers with colored coffee filters thus

turning this activity into an art project as well.

ACTIVITY: Spider Making

OverviewThis is a two-part activity involving geometry, fine motor skills and visual discrimination. The class will work together as a whole group to discuss geometric shapes and assemble "Anansi the Spider." Following will be an independent center activity where students cut out and assemble theirown spider.

MaterialsFor large group activity

Anansi the Spider by Gerald McDermott pre-cut geometric shapes used to assemble large spider large sheet of construction paper glue pencil or marker

For center activity tagboard patterns of geometric shapes (or have shapes already traced

on construction paper for students to cut out) glue scissors one sheet of construction paper for each pencil

Procedure1. Read Anansi the Spider by Gerald McDermott 2. Discuss the geometric shapes that make up the body of Anansi. 3. As a class, assemble Anansi the Spider using the cut-out geometric

shapes. 4. Have students take turns gluing the shapes on a large sheet of

construction paper to form Anansi. 5. Discuss each shape as it is being added to the body. 6. When the spider is finished, write "Anansi the Spider" at the bottom

of the page and hang in the center where students will be working on their own Anansi project.

7. Set up a center with all the necessary materials for students to make their own "Anansi the Spider." Explain to the students that they need to trace, cut out, and assemble the geometric shapes to make Anansi. They may use the class's Anansi as a guide. Students may try to write "Anansi the Spider" at the bottom of their pages when their Anansi hasbeen made.

Skilpad (African for ‘tortoise’)Draw them!

Pumba