Monday, May 17, 2010
5-13/ 17 Practice, Practice, Practice.....
Lesson:
We emphasized the important aspects of choral reading. See the choral reading sheet on the assignments page to see the rubric and how you will be graded.
We then practiced with our groups for the remainder of class.
HMWK:
Choral Reading practice. Performance next class.
Group analysis due next class!
Tuesday, May 11, 2010
Choral Reading Assignment
Choral Reading Project
Assignment: Select a poem and present it to the class with your assigned group.
Purpose: to practice performing in front of an audience
to work on clear enunciation
to practice working in a group
to make adjustments in performance based on viewing a videotape of group
Choral means to read together. Around 50 percent of the piece needs to be read in unison. Arrange sound so it’s interesting, loud, varied, and unpredictable. Use your imagination.
Procedure:
1. Select a leader to start you, keep time, solve disputes, etc.
2. Assign parts, then try out the sound arrangement. Rework it as needed.
3. Decide what you will use as props and assign people to gather them.
4. Practice, practice, practice. It’s best if you practice standing up!
Grade for group is your grade. (If you clearly do less than the group does, you will get an individual LOWER grade.
You will be graded on:
Clarity (precision, volume and diction)
Audience (eye contact and gestures)
Preparation (everyone involved and rehearsed)
Creativity (props, costumes and voice expression)
Unison Speaking (clear and not mumbled)
Extra credit will be given if the entire group has the piece memorized.
Assignment: Select a poem and present it to the class with your assigned group.
Purpose: to practice performing in front of an audience
to work on clear enunciation
to practice working in a group
to make adjustments in performance based on viewing a videotape of group
Choral means to read together. Around 50 percent of the piece needs to be read in unison. Arrange sound so it’s interesting, loud, varied, and unpredictable. Use your imagination.
Procedure:
1. Select a leader to start you, keep time, solve disputes, etc.
2. Assign parts, then try out the sound arrangement. Rework it as needed.
3. Decide what you will use as props and assign people to gather them.
4. Practice, practice, practice. It’s best if you practice standing up!
Grade for group is your grade. (If you clearly do less than the group does, you will get an individual LOWER grade.
You will be graded on:
Clarity (precision, volume and diction)
Audience (eye contact and gestures)
Preparation (everyone involved and rehearsed)
Creativity (props, costumes and voice expression)
Unison Speaking (clear and not mumbled)
Extra credit will be given if the entire group has the piece memorized.
Choral Reading Rubric
Choral Reading Group members:_____________________________
______________________________
Clarity (precision, volume, diction) 1 2 3 4 5
Audience (eye contact, gestures) 1 2 3 4 5
Preparation (everyone involved, rehearsed) 1 2 3 4 5
Creativity (props, costumes, voice expression) 1 2 3 4 5
Unison Speaking (clear, not mumbled) 1 2 3 4 5
Poetry introduction (meaning clearly explained) 1 2 3 4 5
Memorized (+ 5 extra credit) Total: ________________
______________________________
Clarity (precision, volume, diction) 1 2 3 4 5
Audience (eye contact, gestures) 1 2 3 4 5
Preparation (everyone involved, rehearsed) 1 2 3 4 5
Creativity (props, costumes, voice expression) 1 2 3 4 5
Unison Speaking (clear, not mumbled) 1 2 3 4 5
Poetry introduction (meaning clearly explained) 1 2 3 4 5
Memorized (+ 5 extra credit) Total: ________________
South Choral Reading Groups
AM
Maisie Lauren
Marika Kiley
LeeAnn Nevin
Tyson
Mikella Pierre
Megan M Kinsey M
Tristen Rachel T
Taylor B Heather
Anna M Caitlin
McKenna Carlie
Walker Rachel G
Aditya Anne R
Hayley Julianne
Braeden Bryn
Ashton S Dasha
Kayla Natalie
SOuth PM Groups
Maya Hailey B
Megan H Natania
Madeleine Savannah
Zach Harlan
Nic H Rylee
Marisa Pauline
Grant W Gabriel
Holly Evan C
Kove Megan J-V
Rose Connor
Grant C-P Kelsey
Grace Neeva
Simone Benny
Maceo David
Aerin Annalisa
Anna T Geoff
Marty
Maisie Lauren
Marika Kiley
LeeAnn Nevin
Tyson
Mikella Pierre
Megan M Kinsey M
Tristen Rachel T
Taylor B Heather
Anna M Caitlin
McKenna Carlie
Walker Rachel G
Aditya Anne R
Hayley Julianne
Braeden Bryn
Ashton S Dasha
Kayla Natalie
SOuth PM Groups
Maya Hailey B
Megan H Natania
Madeleine Savannah
Zach Harlan
Nic H Rylee
Marisa Pauline
Grant W Gabriel
Holly Evan C
Kove Megan J-V
Rose Connor
Grant C-P Kelsey
Grace Neeva
Simone Benny
Maceo David
Aerin Annalisa
Anna T Geoff
Marty
Choral Reading Poems
Macavity: The Mystery Cat by T.S. Eliot
Macavity's a Mystery Cat: he's called the Hidden Paw -
For he's the master criminal who can defy the Law.
He's the bafflement of Scotland Yard, the Flying Squad's despair:
For when they reach the scene of crime - Macavity's not there!
Macavity, Macavity, there's no one like Macavity,
He's broken every human law, he breaks the law of gravity.
His powers of levitation would make a fakir stare,
And when you reach the scene of crime - Macavity's not there!
You may seek him in the basement, you may look up in the air -
But I tell you once and once again, Macavity's not there!
Macavity's a ginger cat, he's very tall and thin;
You would know him if you saw him, for his eyes are sunken in.
His brow is deeply lined with thought, his head is highly domed;
His coat is dusty from neglect, his whiskers are uncombed.
He sways his head from side to side, with movements like a snake;
And when you think he's half asleep, he's always wide awake.
Macavity, Macavity, there's no one like Macavity,
For he's a fiend in feline shape, a monster of depravity.
You may meet him in a by-street, you may see him in the square -
But when a crime's discovered, then Macavity's not there!
He's outwardly respectable. (They say he cheats at cards.)
And his footprints are not found in any file of Scotland Yard's.
And when the larder's looted, or the jewel-case is rifled,
Or when the milk is missing, or another Peke's been stifled,
Or the greenhouse glass is broken, and the trellis past repair -
Ay, there's the wonder of the thing! Macavity's not there!
And when the Foreign Office find a Treaty's gone astray,
Or the Admiralty lose some plans and drawings by the way,
There may be a scrap of paper in the hall or on the stair -
But it's useless to investigate - Mcavity's not there!
And when the loss has been disclosed, the Secret Service say:
`It must have been Macavity!' - but he's a mile away.
You'll be sure to find him resting, or a-licking of his thumbs,
Or engaged in doing complicated long-division sums.
Macavity, Macavity, there's no one like Macavity,
There never was a Cat of such deceitfulness and suavity.
He always has an alibi, and one or two to spaer:
At whatever time the deed took place - MACAVITY WASN'T THERE!
And they say that all the Cats whose wicked deeds are widely known
(I might mention Mungojerrie, I might mention Griddlebone)
Are nothing more than agents for the Cat who all the time
Just controls their operations: the Napoleon of Crime!
The Horses by Edwin Muir
Barely a twelvemonth after
The seven days war that put the world to sleep,
Late in the evening the strange horses came.
By then we had made our covenant with silence,
But in the first few days it was so still
We listened to our breathing and were afraid.
On the second day
The radios failed; we turned the knobs; no answer.
On the third day a warship passed us, heading north,
Dead bodies piled on the deck. On the sixth day
A plane plunged over us into the sea. Thereafter
Nothing. The radios dumb;
And still they stand in corners of our kitchens,
And stand, perhaps, turned on, in a million rooms
All over the world. But now if they should speak,
If on a sudden they should speak again,
If on the stroke of noon a voice should speak,
We would not listen, we would not let it bring
That old bad world that swallowed its children quick
At one great gulp. We would not have it again.
Sometimes we think of the nations lying asleep,
Curled blindly in impenetrable sorrow,
And then the thought confounds us with its strangeness.
The tractors lie about our fields; at evening
They look like dank sea-monsters couched and waiting.
We leave them where they are and let them rust:
'They'll molder away and be like other loam.'
We make our oxen drag our rusty plows,
Long laid aside. We have gone back
Far past our fathers' land.
And then, that evening
Late in the summer the strange horses came.
We heard a distant tapping on the road,
A deepening drumming; it stopped, went on again
And at the corner changed to hollow thunder.
We saw the heads
Like a wild wave charging and were afraid.
We had sold our horses in our fathers' time
To buy new tractors. Now they were strange to us
As fabulous steeds set on an ancient shield.
Or illustrations in a book of knights.
We did not dare go near them. Yet they waited,
Stubborn and shy, as if they had been sent
By an old command to find our whereabouts
And that long-lost archaic companionship.
In the first moment we had never a thought
That they were creatures to be owned and used.
Among them were some half a dozen colts
Dropped in some wilderness of the broken world,
Yet new as if they had come from their own Eden.
Since then they have pulled our plows and borne our loads
But that free servitude still can pierce our hearts.
Our life is changed; their coming our beginning.
[IF] by Rudyard Kipling
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you
But make allowance for their doubting too,
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or being hated, don't give way to hating,
And yet don't look too good, nor talk too wise:
If you can dream--and not make dreams your master,
If you can think--and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build 'em up with worn-out tools:
If you can make one heap of all your winnings
And risk it all on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on!"
If you can talk with crowds and keep your virtue,
Or walk with kings--nor lose the common touch,
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much,
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And--which is more--you'll be a Man, my son!
Henry Wadsworth Longfellow - The Village Blacksmith
Under a spreading chestnut-tree
The village smithy stands;
The smith, a mighty man is he,
With large and sinewy hands;
And the muscles of his brawny arms
Are strong as iron bands.
His hair is crisp, and black, and long,
His face is like the tan;
His brow is wet with honest sweat,
He earns whate'er he can,
And looks the whole world in the face,
For he owes not any man.
Week in, week out, from morn till night,
You can hear his bellows blow;
You can hear him swing his heavy sledge,
With measured beat and slow,
Like a sexton ringing the village bell,
When the evening sun is low.
And children coming home from school
Look in at the open door;
They love to see the flaming forge,
And hear the bellows roar,
And catch the burning sparks that fly
Like chaff from a threshing-floor.
He goes on Sunday to the church,
And sits among his boys;
He hears the parson pray and preach,
He hears his daughter's voice,
Singing in the village choir,
And it makes his heart rejoice.
It sounds to him like her mother's voice,
Singing in Paradise!
He needs must think of her once more,
How in the grave she lies;
And with his haul, rough hand he wipes
A tear out of his eyes.
Toiling,--rejoicing,--sorrowing,
Onward through life he goes;
Each morning sees some task begin,
Each evening sees it close
Something attempted, something done,
Has earned a night's repose.
Thanks, thanks to thee, my worthy friend,
For the lesson thou hast taught!
Thus at the flaming forge of life
Our fortunes must be wrought;
Thus on its sounding anvil shaped
Each burning deed and thought
The Charge Of The Light Brigade
by Alfred, Lord Tennyson
Half a league half a league,
Half a league onward,
All in the valley of Death
Rode the six hundred:
'Forward, the Light Brigade!
Charge for the guns' he said:
Into the valley of Death
Rode the six hundred.
'Forward, the Light Brigade!'
Was there a man dismay'd ?
Not tho' the soldier knew
Some one had blunder'd:
Theirs not to make reply,
Theirs not to reason why,
Theirs but to do & die,
Into the valley of Death
Rode the six hundred.
Cannon to right of them,
Cannon to left of them,
Cannon in front of them
Volley'd & thunder'd;
Storm'd at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hundred.
Flash'd all their sabres bare,
Flash'd as they turn'd in air
Sabring the gunners there,
Charging an army while
All the world wonder'd:
Plunged in the battery-smoke
Right thro' the line they broke;
Cossack & Russian
Reel'd from the sabre-stroke,
Shatter'd & sunder'd.
Then they rode back, but not
Not the six hundred.
Cannon to right of them,
Cannon to left of them,
Cannon behind them
Volley'd and thunder'd;
Storm'd at with shot and shell,
While horse & hero fell,
They that had fought so well
Came thro' the jaws of Death,
Back from the mouth of Hell,
All that was left of them,
Left of six hundred.
When can their glory fade?
O the wild charge they made!
All the world wonder'd.
Honour the charge they made!
Honour the Light Brigade,
Noble six hundred!
The Highwayman
Alfred Noyes
PART ONE
I
THE wind was a torrent of darkness among the gusty trees,
The moon was a ghostly galleon tossed upon cloudy seas,
The road was a ribbon of moonlight over the purple moor,
And the highwayman came riding—
Riding—riding—
The highwayman came riding, up to the old inn-door.
II
He'd a French cocked-hat on his forehead, a bunch of lace at his chin,
A coat of the claret velvet, and breeches of brown doe-skin;
They fitted with never a wrinkle: his boots were up to the thigh!
And he rode with a jewelled twinkle,
His pistol butts a-twinkle,
His rapier hilt a-twinkle, under the jewelled sky.
III
Over the cobbles he clattered and clashed in the dark inn-yard,
And he tapped with his whip on the shutters, but all was locked and barred;
He whistled a tune to the window, and who should be waiting there
But the landlord's black-eyed daughter,
Bess, the landlord's daughter,
Plaiting a dark red love-knot into her long black hair.
IV
And dark in the dark old inn-yard a stable-wicket creaked
Where Tim the ostler listened; his face was white and peaked;
His eyes were hollows of madness, his hair like mouldy hay,
But he loved the landlord's daughter,
The landlord's red-lipped daughter,
Dumb as a dog he listened, and he heard the robber say—
V
"One kiss, my bonny sweetheart, I'm after a prize to-night,
But I shall be back with the yellow gold before the morning light;
Yet, if they press me sharply, and harry me through the day,
Then look for me by moonlight,
Watch for me by moonlight,
I'll come to thee by moonlight, though hell should bar the way."
VI
He rose upright in the stirrups; he scarce could reach her hand,
But she loosened her hair i' the casement! His face burnt like a brand
As the black cascade of perfume came tumbling over his breast;
And he kissed its waves in the moonlight,
(Oh, sweet, black waves in the moonlight!)
Then he tugged at his rein in the moonliglt, and galloped away to the West.
PART TWO
I
He did not come in the dawning; he did not come at noon;
And out o' the tawny sunset, before the rise o' the moon,
When the road was a gypsy's ribbon, looping the purple moor,
A red-coat troop came marching—
Marching—marching—
King George's men came matching, up to the old inn-door.
II
They said no word to the landlord, they drank his ale instead,
But they gagged his daughter and bound her to the foot of her narrow bed;
Two of them knelt at her casement, with muskets at their side!
There was death at every window;
And hell at one dark window;
For Bess could see, through her casement, the road that he would ride.
III
They had tied her up to attention, with many a sniggering jest;
They had bound a musket beside her, with the barrel beneath her breast!
"Now, keep good watch!" and they kissed her.
She heard the dead man say—
Look for me by moonlight;
Watch for me by moonlight;
I'll come to thee by moonlight, though hell should bar the way!
IV
She twisted her hands behind her; but all the knots held good!
She writhed her hands till her fingers were wet with sweat or blood!
They stretched and strained in the darkness, and the hours crawled by like years,
Till, now, on the stroke of midnight,
Cold, on the stroke of midnight,
The tip of one finger touched it! The trigger at least was hers!
V
The tip of one finger touched it; she strove no more for the rest!
Up, she stood up to attention, with the barrel beneath her breast,
She would not risk their hearing; she would not strive again;
For the road lay bare in the moonlight;
Blank and bare in the moonlight;
And the blood of her veins in the moonlight throbbed to her love's refrain .
VI
Tlot-tlot; tlot-tlot! Had they heard it? The horse-hoofs ringing clear;
Tlot-tlot, tlot-tlot, in the distance? Were they deaf that they did not hear?
Down the ribbon of moonlight, over the brow of the hill,
The highwayman came riding,
Riding, riding!
The red-coats looked to their priming! She stood up, straight and still!
VII
Tlot-tlot, in the frosty silence! Tlot-tlot, in the echoing night!
Nearer he came and nearer! Her face was like a light!
Her eyes grew wide for a moment; she drew one last deep breath,
Then her finger moved in the moonlight,
Her musket shattered the moonlight,
Shattered her breast in the moonlight and warned him—with her death.
VIII
He turned; he spurred to the West; he did not know who stood
Bowed, with her head o'er the musket, drenched with her own red blood!
Not till the dawn he heard it, his face grew grey to hear
How Bess, the landlord's daughter,
The landlord's black-eyed daughter,
Had watched for her love in the moonlight, and died in the darkness there.
IX
Back, he spurred like a madman, shrieking a curse to the sky,
With the white road smoking behind him and his rapier brandished high!
Blood-red were his spurs i' the golden noon; wine-red was his velvet coat,
When they shot him down on the highway,
Down like a dog on the highway,
And he lay in his blood on the highway, with the bunch of lace at his throat.
* * * * * *
X
And still of a winter's night, they say, when the wind is in the trees,
When the moon is a ghostly galleon tossed upon cloudy seas,
When the road is a ribbon of moonlight over the purple moor,
A highwayman comes riding—
Riding—riding—
A highwayman comes riding, up to the old inn-door.
XI
Over the cobbles he clatters and clangs in the dark inn-yard;
He taps with his whip on the shutters, but all is locked and barred;
He whistles a tune to the window, and who should be waiting there
But the landlord's black-eyed daughter,
Bess, the landlord's daughter,
Plaiting a dark red love-knot into her long black hair.
LOCHINVAR
by: Sir Walter Scott (1771-1832)
OH! young Lochinvar is come out of the west,
Through all the wide Border his steed was the best;
And save his good broadsword he weapons had none.
He rode all unarmed and he rode all alone.
So faithful in love and so dauntless in war,
There never was knight like the young Lochinvar.
He stayed not for brake and he stopped not for stone,
He swam the Eske river where ford there was none,
But ere he alighted at Netherby gate
The bride had consented, the gallant came late:
For a laggard in love and a dastard in war
Was to wed the fair Ellen of brave Lochinvar.
So boldly he entered the Netherby Hall,
Among bridesmen, and kinsmen, and brothers, and all:
Then spoke the bride's father, his hand on his sword,--
For the poor craven bridegroom said never a word,--
'Oh! come ye in peace here, or come ye in war,
Or to dance at our bridal, young Lord Lochinvar?'--
'I long wooed your daughter, my suit you denied;
Love swells like the Solway, but ebbs like its tide--
And now am I come, with this lost love of mine,
To lead but one measure, drink one cup of wine.
There are maidens in Scotland more lovely by far,
That would gladly be bride to the young Lochinvar.'
The bride kissed the goblet; the knight took it up,
He quaffed off the wine, and he threw down the cup,
She looked down to blush, and she looked up to sigh,
With a smile on her lips and a tear in her eye.
He took her soft hand ere her mother could bar,--
'Now tread we a measure!' said young Lochinvar.
So stately his form, and so lovely her face,
That never a hall such a galliard did grace;
While her mother did fret, and her father did fume,
And the bridegroom stood dangling his bonnet and plume;
And the bride -- maidens whispered ''Twere better by far
To have matched our fair cousin with young Lochinvar.'
One touch to her hand and one word in her ear,
When they reached the hall-door, and the charger stood near;
So light to the croupe the fair lady he swung,
So light to the saddle before her he sprung!
'She is won! we are gone, over bank, bush, and scaur;
They'll have fleet steeds that follow,' quoth young Lochinvar.
There was mounting 'mong Graemes of the Netherby clan;
Fosters, Fenwicks, and Musgraves, they rode and they ran:
There was racing and chasing on Cannobie Lee,
But the lost bride of Netherby ne'er did they see.
So daring in love and so dauntless in war,
Have ye e'er heard of gallant like young Lochinvar?
THE LISTENERS
by: Walter de la Mare (b. 1873)
'
Is there anybody there?' said the Traveller,
Knocking on the moonlit door;
And his horse in the silence champ'd the grasses
Of the forest's ferny floor:
And a bird flew up out of the turret,
Above the Traveller's head:
And he smote upon the door again a second time;
'Is there anybody there?' he said.
But no one descended to the Traveller;
No head from the leaf-fringed sill
Lean'd over and look'd into his grey eyes,
Where he stood perplex'd and still.
But only a host of phantom listeners
That dwelt in the lone house then
Stood listening in the quiet of the moonlight
To that voice from the world of men:
Stood thronging the faint moonbeams on the dark stair,
That goes down to the empty hall,
Hearkening in an air stirr'd and shaken
By the lonely Traveller's call.
And he felt in his heart their strangeness,
Their stillness answering his cry,
While his horse moved, cropping the dark turf,
'Neath the starr'd and leafy sky;
For he suddenly smote on the door, even
Louder, and lifted his head:--
'Tell them I came, and no one answer'd,
That I kept my word,' he said.
Never the least stir made the listeners,
Though every word he spake
Fell echoing through the shadowiness of the still house
From the one man left awake:
Ay, they heard his foot upon the stirrup,
And the sound of iron on stone,
And how the silence surged softly backward,
When the plunging hoofs were gone.
Macavity's a Mystery Cat: he's called the Hidden Paw -
For he's the master criminal who can defy the Law.
He's the bafflement of Scotland Yard, the Flying Squad's despair:
For when they reach the scene of crime - Macavity's not there!
Macavity, Macavity, there's no one like Macavity,
He's broken every human law, he breaks the law of gravity.
His powers of levitation would make a fakir stare,
And when you reach the scene of crime - Macavity's not there!
You may seek him in the basement, you may look up in the air -
But I tell you once and once again, Macavity's not there!
Macavity's a ginger cat, he's very tall and thin;
You would know him if you saw him, for his eyes are sunken in.
His brow is deeply lined with thought, his head is highly domed;
His coat is dusty from neglect, his whiskers are uncombed.
He sways his head from side to side, with movements like a snake;
And when you think he's half asleep, he's always wide awake.
Macavity, Macavity, there's no one like Macavity,
For he's a fiend in feline shape, a monster of depravity.
You may meet him in a by-street, you may see him in the square -
But when a crime's discovered, then Macavity's not there!
He's outwardly respectable. (They say he cheats at cards.)
And his footprints are not found in any file of Scotland Yard's.
And when the larder's looted, or the jewel-case is rifled,
Or when the milk is missing, or another Peke's been stifled,
Or the greenhouse glass is broken, and the trellis past repair -
Ay, there's the wonder of the thing! Macavity's not there!
And when the Foreign Office find a Treaty's gone astray,
Or the Admiralty lose some plans and drawings by the way,
There may be a scrap of paper in the hall or on the stair -
But it's useless to investigate - Mcavity's not there!
And when the loss has been disclosed, the Secret Service say:
`It must have been Macavity!' - but he's a mile away.
You'll be sure to find him resting, or a-licking of his thumbs,
Or engaged in doing complicated long-division sums.
Macavity, Macavity, there's no one like Macavity,
There never was a Cat of such deceitfulness and suavity.
He always has an alibi, and one or two to spaer:
At whatever time the deed took place - MACAVITY WASN'T THERE!
And they say that all the Cats whose wicked deeds are widely known
(I might mention Mungojerrie, I might mention Griddlebone)
Are nothing more than agents for the Cat who all the time
Just controls their operations: the Napoleon of Crime!
The Horses by Edwin Muir
Barely a twelvemonth after
The seven days war that put the world to sleep,
Late in the evening the strange horses came.
By then we had made our covenant with silence,
But in the first few days it was so still
We listened to our breathing and were afraid.
On the second day
The radios failed; we turned the knobs; no answer.
On the third day a warship passed us, heading north,
Dead bodies piled on the deck. On the sixth day
A plane plunged over us into the sea. Thereafter
Nothing. The radios dumb;
And still they stand in corners of our kitchens,
And stand, perhaps, turned on, in a million rooms
All over the world. But now if they should speak,
If on a sudden they should speak again,
If on the stroke of noon a voice should speak,
We would not listen, we would not let it bring
That old bad world that swallowed its children quick
At one great gulp. We would not have it again.
Sometimes we think of the nations lying asleep,
Curled blindly in impenetrable sorrow,
And then the thought confounds us with its strangeness.
The tractors lie about our fields; at evening
They look like dank sea-monsters couched and waiting.
We leave them where they are and let them rust:
'They'll molder away and be like other loam.'
We make our oxen drag our rusty plows,
Long laid aside. We have gone back
Far past our fathers' land.
And then, that evening
Late in the summer the strange horses came.
We heard a distant tapping on the road,
A deepening drumming; it stopped, went on again
And at the corner changed to hollow thunder.
We saw the heads
Like a wild wave charging and were afraid.
We had sold our horses in our fathers' time
To buy new tractors. Now they were strange to us
As fabulous steeds set on an ancient shield.
Or illustrations in a book of knights.
We did not dare go near them. Yet they waited,
Stubborn and shy, as if they had been sent
By an old command to find our whereabouts
And that long-lost archaic companionship.
In the first moment we had never a thought
That they were creatures to be owned and used.
Among them were some half a dozen colts
Dropped in some wilderness of the broken world,
Yet new as if they had come from their own Eden.
Since then they have pulled our plows and borne our loads
But that free servitude still can pierce our hearts.
Our life is changed; their coming our beginning.
[IF] by Rudyard Kipling
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you
But make allowance for their doubting too,
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or being hated, don't give way to hating,
And yet don't look too good, nor talk too wise:
If you can dream--and not make dreams your master,
If you can think--and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build 'em up with worn-out tools:
If you can make one heap of all your winnings
And risk it all on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on!"
If you can talk with crowds and keep your virtue,
Or walk with kings--nor lose the common touch,
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much,
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And--which is more--you'll be a Man, my son!
Henry Wadsworth Longfellow - The Village Blacksmith
Under a spreading chestnut-tree
The village smithy stands;
The smith, a mighty man is he,
With large and sinewy hands;
And the muscles of his brawny arms
Are strong as iron bands.
His hair is crisp, and black, and long,
His face is like the tan;
His brow is wet with honest sweat,
He earns whate'er he can,
And looks the whole world in the face,
For he owes not any man.
Week in, week out, from morn till night,
You can hear his bellows blow;
You can hear him swing his heavy sledge,
With measured beat and slow,
Like a sexton ringing the village bell,
When the evening sun is low.
And children coming home from school
Look in at the open door;
They love to see the flaming forge,
And hear the bellows roar,
And catch the burning sparks that fly
Like chaff from a threshing-floor.
He goes on Sunday to the church,
And sits among his boys;
He hears the parson pray and preach,
He hears his daughter's voice,
Singing in the village choir,
And it makes his heart rejoice.
It sounds to him like her mother's voice,
Singing in Paradise!
He needs must think of her once more,
How in the grave she lies;
And with his haul, rough hand he wipes
A tear out of his eyes.
Toiling,--rejoicing,--sorrowing,
Onward through life he goes;
Each morning sees some task begin,
Each evening sees it close
Something attempted, something done,
Has earned a night's repose.
Thanks, thanks to thee, my worthy friend,
For the lesson thou hast taught!
Thus at the flaming forge of life
Our fortunes must be wrought;
Thus on its sounding anvil shaped
Each burning deed and thought
The Charge Of The Light Brigade
by Alfred, Lord Tennyson
Half a league half a league,
Half a league onward,
All in the valley of Death
Rode the six hundred:
'Forward, the Light Brigade!
Charge for the guns' he said:
Into the valley of Death
Rode the six hundred.
'Forward, the Light Brigade!'
Was there a man dismay'd ?
Not tho' the soldier knew
Some one had blunder'd:
Theirs not to make reply,
Theirs not to reason why,
Theirs but to do & die,
Into the valley of Death
Rode the six hundred.
Cannon to right of them,
Cannon to left of them,
Cannon in front of them
Volley'd & thunder'd;
Storm'd at with shot and shell,
Boldly they rode and well,
Into the jaws of Death,
Into the mouth of Hell
Rode the six hundred.
Flash'd all their sabres bare,
Flash'd as they turn'd in air
Sabring the gunners there,
Charging an army while
All the world wonder'd:
Plunged in the battery-smoke
Right thro' the line they broke;
Cossack & Russian
Reel'd from the sabre-stroke,
Shatter'd & sunder'd.
Then they rode back, but not
Not the six hundred.
Cannon to right of them,
Cannon to left of them,
Cannon behind them
Volley'd and thunder'd;
Storm'd at with shot and shell,
While horse & hero fell,
They that had fought so well
Came thro' the jaws of Death,
Back from the mouth of Hell,
All that was left of them,
Left of six hundred.
When can their glory fade?
O the wild charge they made!
All the world wonder'd.
Honour the charge they made!
Honour the Light Brigade,
Noble six hundred!
The Highwayman
Alfred Noyes
PART ONE
I
THE wind was a torrent of darkness among the gusty trees,
The moon was a ghostly galleon tossed upon cloudy seas,
The road was a ribbon of moonlight over the purple moor,
And the highwayman came riding—
Riding—riding—
The highwayman came riding, up to the old inn-door.
II
He'd a French cocked-hat on his forehead, a bunch of lace at his chin,
A coat of the claret velvet, and breeches of brown doe-skin;
They fitted with never a wrinkle: his boots were up to the thigh!
And he rode with a jewelled twinkle,
His pistol butts a-twinkle,
His rapier hilt a-twinkle, under the jewelled sky.
III
Over the cobbles he clattered and clashed in the dark inn-yard,
And he tapped with his whip on the shutters, but all was locked and barred;
He whistled a tune to the window, and who should be waiting there
But the landlord's black-eyed daughter,
Bess, the landlord's daughter,
Plaiting a dark red love-knot into her long black hair.
IV
And dark in the dark old inn-yard a stable-wicket creaked
Where Tim the ostler listened; his face was white and peaked;
His eyes were hollows of madness, his hair like mouldy hay,
But he loved the landlord's daughter,
The landlord's red-lipped daughter,
Dumb as a dog he listened, and he heard the robber say—
V
"One kiss, my bonny sweetheart, I'm after a prize to-night,
But I shall be back with the yellow gold before the morning light;
Yet, if they press me sharply, and harry me through the day,
Then look for me by moonlight,
Watch for me by moonlight,
I'll come to thee by moonlight, though hell should bar the way."
VI
He rose upright in the stirrups; he scarce could reach her hand,
But she loosened her hair i' the casement! His face burnt like a brand
As the black cascade of perfume came tumbling over his breast;
And he kissed its waves in the moonlight,
(Oh, sweet, black waves in the moonlight!)
Then he tugged at his rein in the moonliglt, and galloped away to the West.
PART TWO
I
He did not come in the dawning; he did not come at noon;
And out o' the tawny sunset, before the rise o' the moon,
When the road was a gypsy's ribbon, looping the purple moor,
A red-coat troop came marching—
Marching—marching—
King George's men came matching, up to the old inn-door.
II
They said no word to the landlord, they drank his ale instead,
But they gagged his daughter and bound her to the foot of her narrow bed;
Two of them knelt at her casement, with muskets at their side!
There was death at every window;
And hell at one dark window;
For Bess could see, through her casement, the road that he would ride.
III
They had tied her up to attention, with many a sniggering jest;
They had bound a musket beside her, with the barrel beneath her breast!
"Now, keep good watch!" and they kissed her.
She heard the dead man say—
Look for me by moonlight;
Watch for me by moonlight;
I'll come to thee by moonlight, though hell should bar the way!
IV
She twisted her hands behind her; but all the knots held good!
She writhed her hands till her fingers were wet with sweat or blood!
They stretched and strained in the darkness, and the hours crawled by like years,
Till, now, on the stroke of midnight,
Cold, on the stroke of midnight,
The tip of one finger touched it! The trigger at least was hers!
V
The tip of one finger touched it; she strove no more for the rest!
Up, she stood up to attention, with the barrel beneath her breast,
She would not risk their hearing; she would not strive again;
For the road lay bare in the moonlight;
Blank and bare in the moonlight;
And the blood of her veins in the moonlight throbbed to her love's refrain .
VI
Tlot-tlot; tlot-tlot! Had they heard it? The horse-hoofs ringing clear;
Tlot-tlot, tlot-tlot, in the distance? Were they deaf that they did not hear?
Down the ribbon of moonlight, over the brow of the hill,
The highwayman came riding,
Riding, riding!
The red-coats looked to their priming! She stood up, straight and still!
VII
Tlot-tlot, in the frosty silence! Tlot-tlot, in the echoing night!
Nearer he came and nearer! Her face was like a light!
Her eyes grew wide for a moment; she drew one last deep breath,
Then her finger moved in the moonlight,
Her musket shattered the moonlight,
Shattered her breast in the moonlight and warned him—with her death.
VIII
He turned; he spurred to the West; he did not know who stood
Bowed, with her head o'er the musket, drenched with her own red blood!
Not till the dawn he heard it, his face grew grey to hear
How Bess, the landlord's daughter,
The landlord's black-eyed daughter,
Had watched for her love in the moonlight, and died in the darkness there.
IX
Back, he spurred like a madman, shrieking a curse to the sky,
With the white road smoking behind him and his rapier brandished high!
Blood-red were his spurs i' the golden noon; wine-red was his velvet coat,
When they shot him down on the highway,
Down like a dog on the highway,
And he lay in his blood on the highway, with the bunch of lace at his throat.
* * * * * *
X
And still of a winter's night, they say, when the wind is in the trees,
When the moon is a ghostly galleon tossed upon cloudy seas,
When the road is a ribbon of moonlight over the purple moor,
A highwayman comes riding—
Riding—riding—
A highwayman comes riding, up to the old inn-door.
XI
Over the cobbles he clatters and clangs in the dark inn-yard;
He taps with his whip on the shutters, but all is locked and barred;
He whistles a tune to the window, and who should be waiting there
But the landlord's black-eyed daughter,
Bess, the landlord's daughter,
Plaiting a dark red love-knot into her long black hair.
LOCHINVAR
by: Sir Walter Scott (1771-1832)
OH! young Lochinvar is come out of the west,
Through all the wide Border his steed was the best;
And save his good broadsword he weapons had none.
He rode all unarmed and he rode all alone.
So faithful in love and so dauntless in war,
There never was knight like the young Lochinvar.
He stayed not for brake and he stopped not for stone,
He swam the Eske river where ford there was none,
But ere he alighted at Netherby gate
The bride had consented, the gallant came late:
For a laggard in love and a dastard in war
Was to wed the fair Ellen of brave Lochinvar.
So boldly he entered the Netherby Hall,
Among bridesmen, and kinsmen, and brothers, and all:
Then spoke the bride's father, his hand on his sword,--
For the poor craven bridegroom said never a word,--
'Oh! come ye in peace here, or come ye in war,
Or to dance at our bridal, young Lord Lochinvar?'--
'I long wooed your daughter, my suit you denied;
Love swells like the Solway, but ebbs like its tide--
And now am I come, with this lost love of mine,
To lead but one measure, drink one cup of wine.
There are maidens in Scotland more lovely by far,
That would gladly be bride to the young Lochinvar.'
The bride kissed the goblet; the knight took it up,
He quaffed off the wine, and he threw down the cup,
She looked down to blush, and she looked up to sigh,
With a smile on her lips and a tear in her eye.
He took her soft hand ere her mother could bar,--
'Now tread we a measure!' said young Lochinvar.
So stately his form, and so lovely her face,
That never a hall such a galliard did grace;
While her mother did fret, and her father did fume,
And the bridegroom stood dangling his bonnet and plume;
And the bride -- maidens whispered ''Twere better by far
To have matched our fair cousin with young Lochinvar.'
One touch to her hand and one word in her ear,
When they reached the hall-door, and the charger stood near;
So light to the croupe the fair lady he swung,
So light to the saddle before her he sprung!
'She is won! we are gone, over bank, bush, and scaur;
They'll have fleet steeds that follow,' quoth young Lochinvar.
There was mounting 'mong Graemes of the Netherby clan;
Fosters, Fenwicks, and Musgraves, they rode and they ran:
There was racing and chasing on Cannobie Lee,
But the lost bride of Netherby ne'er did they see.
So daring in love and so dauntless in war,
Have ye e'er heard of gallant like young Lochinvar?
THE LISTENERS
by: Walter de la Mare (b. 1873)
'
Is there anybody there?' said the Traveller,
Knocking on the moonlit door;
And his horse in the silence champ'd the grasses
Of the forest's ferny floor:
And a bird flew up out of the turret,
Above the Traveller's head:
And he smote upon the door again a second time;
'Is there anybody there?' he said.
But no one descended to the Traveller;
No head from the leaf-fringed sill
Lean'd over and look'd into his grey eyes,
Where he stood perplex'd and still.
But only a host of phantom listeners
That dwelt in the lone house then
Stood listening in the quiet of the moonlight
To that voice from the world of men:
Stood thronging the faint moonbeams on the dark stair,
That goes down to the empty hall,
Hearkening in an air stirr'd and shaken
By the lonely Traveller's call.
And he felt in his heart their strangeness,
Their stillness answering his cry,
While his horse moved, cropping the dark turf,
'Neath the starr'd and leafy sky;
For he suddenly smote on the door, even
Louder, and lifted his head:--
'Tell them I came, and no one answer'd,
That I kept my word,' he said.
Never the least stir made the listeners,
Though every word he spake
Fell echoing through the shadowiness of the still house
From the one man left awake:
Ay, they heard his foot upon the stirrup,
And the sound of iron on stone,
And how the silence surged softly backward,
When the plunging hoofs were gone.
Performance History
What is your history as a performer?
Type one page about your experience speaking and performing in and out of school.
Type one page about your experience speaking and performing in and out of school.
Monday, May 10, 2010
Soweto Road
Below is the poem Soweto Road. Analyze this poem looking at form, sound, and meaning. Write a meaty paragraph telling the overall meaning of the poem. Use examples of form, sound, and poetic devices to show how you arrived at this conclusion. For an example of how to do this, see me for a handout in class next time.
Soweto road
On this spot rough
From cares of slow years
On these streets
muddy from torrents red
on these crooked roads
yawning for direction
here where like early spring
awaiting rain’s seeds
young voices stormed horizons
how yet like summer streams
young blood flowed over
flooded flower
in the dead of winter
On this road here
here this road here
tingles and shudders
from acid taste
the snakeskin snakestooth whiplash road
where snakes tongue flicker lick
broken glass children’s park
road school for shoeless feet…
olympic track perfected
by daily daring sprints
against passes
and barbed wire nakedness…
this road pressed soft
oozing like tear-falls
treeless show-ground for hard-ware
processions
all the June sixteen festivals
and their mad array of hippos
muffling contrary anthems
with machine-gun chatter
naked greed and lust for blood in camouflage
Soweto road drunk
from rich red wine
this sweet arterial blood
for choice Aryan folk…
battlefield road here yes
here
yes even here
where road-blocks to life pile
precariously
here we kneel
scoop earth raise mounds of hope
we oath
with our lives
we shall immortalize
each footprint left each grain of soil
that flesh shed here
each little globe of blood
dropped in our struggle
upon the zigzag path of revolution…
Soweto blood red road
will not dry up
until the fields of revolution
fully mellow tilled
always to bloom again
Lindiwe Mabuza.
Soweto road
On this spot rough
From cares of slow years
On these streets
muddy from torrents red
on these crooked roads
yawning for direction
here where like early spring
awaiting rain’s seeds
young voices stormed horizons
how yet like summer streams
young blood flowed over
flooded flower
in the dead of winter
On this road here
here this road here
tingles and shudders
from acid taste
the snakeskin snakestooth whiplash road
where snakes tongue flicker lick
broken glass children’s park
road school for shoeless feet…
olympic track perfected
by daily daring sprints
against passes
and barbed wire nakedness…
this road pressed soft
oozing like tear-falls
treeless show-ground for hard-ware
processions
all the June sixteen festivals
and their mad array of hippos
muffling contrary anthems
with machine-gun chatter
naked greed and lust for blood in camouflage
Soweto road drunk
from rich red wine
this sweet arterial blood
for choice Aryan folk…
battlefield road here yes
here
yes even here
where road-blocks to life pile
precariously
here we kneel
scoop earth raise mounds of hope
we oath
with our lives
we shall immortalize
each footprint left each grain of soil
that flesh shed here
each little globe of blood
dropped in our struggle
upon the zigzag path of revolution…
Soweto blood red road
will not dry up
until the fields of revolution
fully mellow tilled
always to bloom again
Lindiwe Mabuza.
Tuesday, May 4, 2010
Train Poem (South Africa)
Gumboots poetry
Write a poem about the trains in South Africa. Use rhyme, rhythm, and other poetic sound devices to imitate the sounds of the song and sound of the trains. However, this should not just be a collection of sounds. Create a poem that both imitates the sound AND conveys the significance and meaning of the song to the South African people.
Your poem must include:
Alliteration
Assonance
Onomatopoeia
Rhythm/ Meter
Label one example for each of these devices in your poem with colors and make a key.
Length : Minimum of 14 lines, typed
Due: Next class
Write a poem about the trains in South Africa. Use rhyme, rhythm, and other poetic sound devices to imitate the sounds of the song and sound of the trains. However, this should not just be a collection of sounds. Create a poem that both imitates the sound AND conveys the significance and meaning of the song to the South African people.
Your poem must include:
Alliteration
Assonance
Onomatopoeia
Rhythm/ Meter
Label one example for each of these devices in your poem with colors and make a key.
Length : Minimum of 14 lines, typed
Due: Next class
Friday, April 23, 2010
TRC Reflection Sheet
TRC Debrief (if absent)
1. What was the Truth and Reconciliation Committee? Why did some people praise this? Why were some people opposed to this? What did they hope to achieve?
2.. Many relatives of victims wanted to hear how their loved ones died. Why might this be? What does this achieve?
3. Is it better to discuss hurts out in the open, or should people just “let sleeping dogs lie”?
4. “ We make the mistakes of conflating all justice into the Retributive justice, when there is a thing called restorative justice. And this is the option we have chosen. But there is justice. The perpetrators don’t get off scot free. They have to confess publicly, in the full glare of television lights, that they did those ghastly things.” (Desmond Tutu). DO you agree with him? Is the public confession of acts enough to establish justice in South Africa?
1. What was the Truth and Reconciliation Committee? Why did some people praise this? Why were some people opposed to this? What did they hope to achieve?
2.. Many relatives of victims wanted to hear how their loved ones died. Why might this be? What does this achieve?
3. Is it better to discuss hurts out in the open, or should people just “let sleeping dogs lie”?
4. “ We make the mistakes of conflating all justice into the Retributive justice, when there is a thing called restorative justice. And this is the option we have chosen. But there is justice. The perpetrators don’t get off scot free. They have to confess publicly, in the full glare of television lights, that they did those ghastly things.” (Desmond Tutu). DO you agree with him? Is the public confession of acts enough to establish justice in South Africa?
4-23/ 4-26 2010 TRC
Lesson:
We discussed the Truth and Reconciliation process and discussed whether or not this was, in fact, justice.
If you were absent please read these two websites and then fill out the sheet on the assignments age labeled "Truth and Reconciliation"
Read these two websites first:
http://www.peaceworkmagazine.org/pwork/0599/0515.htm
http://news.bbc.co.uk/2/hi/special_report/1998/10/98/truth_and_reconciliation/203134.stm
HMWK:
TRC Worksheet (see assignments page)
Final SOuth Africa Project due 5-4 Sheldon/ 5-5 South
This I Believe: Personal Essay
Name:________________________
'This I Believe' Essay-Writing Instructions
We invite you to share your own beliefs by writing your own statement of personal belief. You may choose to relate it to one of the themes we have explored in our South Africa unit. Some topics you may wish to consider include:
* What is courage?
* What is justice?
* Fear as a prison/ obstacle to change and reconciliation
* The need for violence (or not)
* The power of teenagers in transforming society
* _______________________________________
We understand how challenging this is -- it requires such intimacy that no one else can do it for you. To guide you through this process, we offer these suggestions:
Tell a story: Be specific. Take your belief out of the ether and ground it in the events of your life. Consider moments when belief was formed or tested or changed. Think of your own experience, work and family, and tell of the things you know that no one else does. Your story need not be heart-warming or gut-wrenching -- it can even be funny -- but it should be real. Make sure your story ties to the essence of your daily life philosophy and the shaping of your beliefs about this issue in your own life.
Be brief: Your statement should be between 350 and 500 words. That's about three minutes when read aloud at your natural pace.
Name your belief: If you can't name it in a sentence or two, your essay might not be about belief. Also, rather than writing a list, consider focusing on a core belief, because three minutes is a very short time.
Be positive: Please avoid preaching or editorializing. Tell us what you do believe, not what you don't believe. Avoid speaking in the editorial "we." Make your essay about you; speak in the first person.
Be personal: Write in words and phrases that are comfortable for you to speak. We recommend you read your essay aloud to yourself several times, and each time edit it and simplify it until you find the words, tone and story that truly echo your belief and the way you speak.
Due: 4-23 South/ 4-26 Sheldon
'This I Believe' Essay-Writing Instructions
We invite you to share your own beliefs by writing your own statement of personal belief. You may choose to relate it to one of the themes we have explored in our South Africa unit. Some topics you may wish to consider include:
* What is courage?
* What is justice?
* Fear as a prison/ obstacle to change and reconciliation
* The need for violence (or not)
* The power of teenagers in transforming society
* _______________________________________
We understand how challenging this is -- it requires such intimacy that no one else can do it for you. To guide you through this process, we offer these suggestions:
Tell a story: Be specific. Take your belief out of the ether and ground it in the events of your life. Consider moments when belief was formed or tested or changed. Think of your own experience, work and family, and tell of the things you know that no one else does. Your story need not be heart-warming or gut-wrenching -- it can even be funny -- but it should be real. Make sure your story ties to the essence of your daily life philosophy and the shaping of your beliefs about this issue in your own life.
Be brief: Your statement should be between 350 and 500 words. That's about three minutes when read aloud at your natural pace.
Name your belief: If you can't name it in a sentence or two, your essay might not be about belief. Also, rather than writing a list, consider focusing on a core belief, because three minutes is a very short time.
Be positive: Please avoid preaching or editorializing. Tell us what you do believe, not what you don't believe. Avoid speaking in the editorial "we." Make your essay about you; speak in the first person.
Be personal: Write in words and phrases that are comfortable for you to speak. We recommend you read your essay aloud to yourself several times, and each time edit it and simplify it until you find the words, tone and story that truly echo your belief and the way you speak.
Due: 4-23 South/ 4-26 Sheldon
Monday, April 19, 2010
"The Moment Before the Gun Went Off" Questions
Global Literature Name:___________________________________
1. Who is the main character? What do we know about the main character? What kind of person is he? He is a politically involved man. What are his beliefs?
How does the narrator’s choice of words and expressions reveal prejudice? Give examples of the narrator’s prejudice.
2. The story has a surprise ending. Until the final paragraph, one type of relationship is implied between Van der Vyver and the young man killed.
(a) What was that relationship?
(b) What relationship is revealed in the last paragraph?
3. One of the story’s themes is a constant worrying about how “others” will construe the shooting death of a young male. Identify two specific allusions to these “others”. What does the narrator imply will be the other’s inaccurate interpretations of the shooting death?
4. The surprise ending strengthens the strong sense of irony present throughout the story. Explain why.
5. Find an earlier passage which foreshadows the relationship revealed in the last paragraph.
6. Based on the clues in the story, why is it impossible for Van der Vyver to clear himself of the murder charge by revealing the true nature of the relationship with the dead man.
7. The gun that went off was Van der Vyver;s father’s. Given that Apartheid began in the 1940’s, what could the symbolic significance of the gun be?
8. Why does Van der Vyver have a high, barbed fence around his house and garden? Why are guns “domestic object- now-adays” in the cities?
9. What does Van der Vyver fear? How are his fears ironic and self-deluding?
1. Who is the main character? What do we know about the main character? What kind of person is he? He is a politically involved man. What are his beliefs?
How does the narrator’s choice of words and expressions reveal prejudice? Give examples of the narrator’s prejudice.
2. The story has a surprise ending. Until the final paragraph, one type of relationship is implied between Van der Vyver and the young man killed.
(a) What was that relationship?
(b) What relationship is revealed in the last paragraph?
3. One of the story’s themes is a constant worrying about how “others” will construe the shooting death of a young male. Identify two specific allusions to these “others”. What does the narrator imply will be the other’s inaccurate interpretations of the shooting death?
4. The surprise ending strengthens the strong sense of irony present throughout the story. Explain why.
5. Find an earlier passage which foreshadows the relationship revealed in the last paragraph.
6. Based on the clues in the story, why is it impossible for Van der Vyver to clear himself of the murder charge by revealing the true nature of the relationship with the dead man.
7. The gun that went off was Van der Vyver;s father’s. Given that Apartheid began in the 1940’s, what could the symbolic significance of the gun be?
8. Why does Van der Vyver have a high, barbed fence around his house and garden? Why are guns “domestic object- now-adays” in the cities?
9. What does Van der Vyver fear? How are his fears ironic and self-deluding?
Tuesday, April 13, 2010
South Africa Final Project
Global Literature
Unit: South Africa
Final Project
In lieu of a test or final essay we would like to give you a chance to show us through a medium of your choice what you have learned about South Africa. Think about central issues and questions that have been raised in this unit. Take one or several issues from our unit and explore them in a final project. To help you narrow down some topics or issues to explore, we’ve included a list of suggested topics below. Additionally, we gathered several quotations that relate to South Africa which may function as a source of inspiration. We expect you to ponder the complexity of the issues alluded to and then express your ideas in one of the following modes.
Writing
Write a play, original short story, a collection of poems , a song (lyrics and music), or a formal essay.
Note: Although length is not the most important aspect of your work remember that the more you write the more opportunity you have to show us what you have learned.
Art
Create a painting, drawing, sculpture, photo essay, quilt, etc
Performance
Write/ create a play, puppet show, interpretive dance, song, speech, video, power point presentation, animation, etc. Note: You will only be able to perform for about 5 minutes. Keep your work short or show a selection and turn the rest in on paper, tape/CD, or computer disk.
Your work must show depth of thought and considerable effort. This assignment is worth 75 points so show off your talents. This is no time for half hearted sketches on lined paper, ripped out of your notebook….
Other requirements:
Typed or calligraphy (where appropriate)
All art work or performances should include a short explanation of your work (typed, one page)
Include at least three specific references to issues/ works we studied in class
Title your work with a quotation or central question/ topic
You may work in pairs on this assignment but we will expect double the effort & double the thought
Due Date: Alpha (Sheldon) May 4th ` Omega (South) May 5th
Examples of topics
• What is courage?
• What is justice?
• Fear as a prison/ obstacle to change and reconciliation
• The need for violence (or not)
• The power of teenagers in transforming society
Quotations
• “Power in defense of freedom is greater than power on behalf of tyranny and oppression” Malcolm X
• “Hate has no medicine.” Ga Proverb
• “We aim to remember, to forgive and to go on, with full recognition of how fragile the threads of community are.” Desmond Tutu
• “Force is the only language the imperialists can hear, and no country became free without some sort of violence.” Nelson Mandela
• “To get justice, we must strive to undo the top dog/ underdog reversals that make human errors endure. There is no point exacting vengeance now, knowing that it will be the cause for future vengeance by the offspring of those we punish. Vengeance only leads to revenge” Desmond Tutu
• “Non-violence is the answer to the crucial political and moral questions of our time; the need for man to overcome oppression and violence without resorting to oppression and violence.” M.L. King
• “But somehow tenderness survives.” Dennis Brutus
Unit: South Africa
Final Project
In lieu of a test or final essay we would like to give you a chance to show us through a medium of your choice what you have learned about South Africa. Think about central issues and questions that have been raised in this unit. Take one or several issues from our unit and explore them in a final project. To help you narrow down some topics or issues to explore, we’ve included a list of suggested topics below. Additionally, we gathered several quotations that relate to South Africa which may function as a source of inspiration. We expect you to ponder the complexity of the issues alluded to and then express your ideas in one of the following modes.
Writing
Write a play, original short story, a collection of poems , a song (lyrics and music), or a formal essay.
Note: Although length is not the most important aspect of your work remember that the more you write the more opportunity you have to show us what you have learned.
Art
Create a painting, drawing, sculpture, photo essay, quilt, etc
Performance
Write/ create a play, puppet show, interpretive dance, song, speech, video, power point presentation, animation, etc. Note: You will only be able to perform for about 5 minutes. Keep your work short or show a selection and turn the rest in on paper, tape/CD, or computer disk.
Your work must show depth of thought and considerable effort. This assignment is worth 75 points so show off your talents. This is no time for half hearted sketches on lined paper, ripped out of your notebook….
Other requirements:
Typed or calligraphy (where appropriate)
All art work or performances should include a short explanation of your work (typed, one page)
Include at least three specific references to issues/ works we studied in class
Title your work with a quotation or central question/ topic
You may work in pairs on this assignment but we will expect double the effort & double the thought
Due Date: Alpha (Sheldon) May 4th ` Omega (South) May 5th
Examples of topics
• What is courage?
• What is justice?
• Fear as a prison/ obstacle to change and reconciliation
• The need for violence (or not)
• The power of teenagers in transforming society
Quotations
• “Power in defense of freedom is greater than power on behalf of tyranny and oppression” Malcolm X
• “Hate has no medicine.” Ga Proverb
• “We aim to remember, to forgive and to go on, with full recognition of how fragile the threads of community are.” Desmond Tutu
• “Force is the only language the imperialists can hear, and no country became free without some sort of violence.” Nelson Mandela
• “To get justice, we must strive to undo the top dog/ underdog reversals that make human errors endure. There is no point exacting vengeance now, knowing that it will be the cause for future vengeance by the offspring of those we punish. Vengeance only leads to revenge” Desmond Tutu
• “Non-violence is the answer to the crucial political and moral questions of our time; the need for man to overcome oppression and violence without resorting to oppression and violence.” M.L. King
• “But somehow tenderness survives.” Dennis Brutus
One Upon a Time Questions
Global Literature Name:___________________
Once Upon a Time- by Nadine Gordimer
Symbol: a concrete object that is used to represent an idea (a person, a place, a thing, or an event). Examples are: the dove = peace, the hourglass = time passing, etc
The following objects appear in the story. Write down as many symbolic meanings for each object that you can think of in relation to Apartheid and/or South Africa:
1. The growing wall and razor bladed coils:
2. The boy:
3. The roses and the perfect lawn
4. The red smudge marks on the whitewash wall
5. The narrator’s house being built above a South African mine
Irony: is using a word or phrase to mean the exact opposite of its literal or normal meaning. There are three kinds of irony:
• Dramatic irony, in which the reader or the audience sees a character’s mistakes, but the character does not.
• Verbal irony, in which the writer says one thing and means another: “The best substitute for experience is being thirteen:; and
• Irony of situation, in which there is a great difference between the purpose of a particular action and the result.
6. Explain the irony you see in the story “Once Upon a Time”
Once Upon a Time- by Nadine Gordimer
Symbol: a concrete object that is used to represent an idea (a person, a place, a thing, or an event). Examples are: the dove = peace, the hourglass = time passing, etc
The following objects appear in the story. Write down as many symbolic meanings for each object that you can think of in relation to Apartheid and/or South Africa:
1. The growing wall and razor bladed coils:
2. The boy:
3. The roses and the perfect lawn
4. The red smudge marks on the whitewash wall
5. The narrator’s house being built above a South African mine
Irony: is using a word or phrase to mean the exact opposite of its literal or normal meaning. There are three kinds of irony:
• Dramatic irony, in which the reader or the audience sees a character’s mistakes, but the character does not.
• Verbal irony, in which the writer says one thing and means another: “The best substitute for experience is being thirteen:; and
• Irony of situation, in which there is a great difference between the purpose of a particular action and the result.
6. Explain the irony you see in the story “Once Upon a Time”
Only A-Two Voice Poem
Only A …Two voice poem
A two-voice poem is a poem written in two columns, where two different perspectives are explored as in a dialogue. The purpose of a two-voice poem is to show the different perspectives as well as similarities of two sides. These poems are meant to be read out loud, in pairs, where the voices alternate/ take turns, and sometimes speak in unison.
Your poem should explore the inner world of the girls and the older woman in “Only A”. Include lines from the story as well as your own words to accomplish this. Challenge yourself to look beneath the surface of this story. Allude to larger issues at play in South African history, or the human experience, and don’t be afraid to use figurative language (symbols, metaphors, similes, personification).
You can see an example of this at:
http://everything2.com/index.pl?node_id=1709882
A two-voice poem is a poem written in two columns, where two different perspectives are explored as in a dialogue. The purpose of a two-voice poem is to show the different perspectives as well as similarities of two sides. These poems are meant to be read out loud, in pairs, where the voices alternate/ take turns, and sometimes speak in unison.
Your poem should explore the inner world of the girls and the older woman in “Only A”. Include lines from the story as well as your own words to accomplish this. Challenge yourself to look beneath the surface of this story. Allude to larger issues at play in South African history, or the human experience, and don’t be afraid to use figurative language (symbols, metaphors, similes, personification).
You can see an example of this at:
http://everything2.com/index.pl?node_id=1709882
Wednesday, April 7, 2010
1950s protest poetry (in-class activity)
Name:
1950’s Protest Poetry
“Literature in Africa cannot but be political.”
Femi Ojo-Ade, literacy critic
Introduction: In the 1950’s black and coloured literature is South Africa grew enormously as the anti-apartheid movement developed breadth and strength. The following poems, written between 1949-1960, reflect a range of responses to the apartheid government and to the effects of apartheid on everyday life. As you examine your assignment selection, consider the questions below. Be prepared to share the conclusions of your group with your classmates.
1. What was happening politically and economically in South Africa at the time the poem was written?
2. What does the poem describe? What events or scenes does it portray?
3. What is the mood of the poem? Is it resigned, angry, hopeful, etc? Remember that poems are meant to be read aloud. You may wish to read your poem aloud with your group.
4. How does the poem envision the future? What does your poem suggest will happen to race relations in South Africa?
1950’s Protest Poetry
“Literature in Africa cannot but be political.”
Femi Ojo-Ade, literacy critic
Introduction: In the 1950’s black and coloured literature is South Africa grew enormously as the anti-apartheid movement developed breadth and strength. The following poems, written between 1949-1960, reflect a range of responses to the apartheid government and to the effects of apartheid on everyday life. As you examine your assignment selection, consider the questions below. Be prepared to share the conclusions of your group with your classmates.
1. What was happening politically and economically in South Africa at the time the poem was written?
2. What does the poem describe? What events or scenes does it portray?
3. What is the mood of the poem? Is it resigned, angry, hopeful, etc? Remember that poems are meant to be read aloud. You may wish to read your poem aloud with your group.
4. How does the poem envision the future? What does your poem suggest will happen to race relations in South Africa?
South Africa Protest Poetry Assignment
Global Literature: South Africa Name:_______________________
Protest Music
For next class you may choose one of the three options regarding protest music.
A.) Write your own protest song. Create your own original music or borrow a melody from a popular song. Please either record this (bringing in a CD of your music) or be prepared to perform the song in class (risk takers will receive extra credit!)
B.) Analyze a popular protest song using the same questions you used to analyze your poem for South Africa.
1. What was happening politically and economically at the time this song was written.
2. What does the poem describe? What events or scenes does it portray?
3. What is the mood of the poem? Is it resigned, angry, hopeful, etc?
4. How does the poem envision the future?
C.) Write your own protest poem. Be prepared to read it aloud in class dramatically or present the poem in an artistic way for your classmates to see.
Protest Music
For next class you may choose one of the three options regarding protest music.
A.) Write your own protest song. Create your own original music or borrow a melody from a popular song. Please either record this (bringing in a CD of your music) or be prepared to perform the song in class (risk takers will receive extra credit!)
B.) Analyze a popular protest song using the same questions you used to analyze your poem for South Africa.
1. What was happening politically and economically at the time this song was written.
2. What does the poem describe? What events or scenes does it portray?
3. What is the mood of the poem? Is it resigned, angry, hopeful, etc?
4. How does the poem envision the future?
C.) Write your own protest poem. Be prepared to read it aloud in class dramatically or present the poem in an artistic way for your classmates to see.
Monday, April 5, 2010
Apartheid Reading #1 Study Guide
Advanced Study Guide---Part 1
1. What effect did the arrival of Europeans in South Africa have on the Africans who lived there?
2. Did the British see their role in South Africa differently from Afrikaners? Explain.
3. Why would successive generations of historians have differing views on the causes and effects of the Mfecane? What role does race play in the writing of history?
4. Explain how the Mineral Revolution laid the groundwork for racial segregation in South Africa.
5. Explain the roots of Afrikaner identity.
1. What effect did the arrival of Europeans in South Africa have on the Africans who lived there?
2. Did the British see their role in South Africa differently from Afrikaners? Explain.
3. Why would successive generations of historians have differing views on the causes and effects of the Mfecane? What role does race play in the writing of history?
4. Explain how the Mineral Revolution laid the groundwork for racial segregation in South Africa.
5. Explain the roots of Afrikaner identity.
Sunday, April 4, 2010
South Africa Vocab Day 3 and 4
Name:__________________
South African Vocabulary
Day Three
New Words: stope thwart implore malevolent itinerant
Gumboots
Forced to work for hours deep underground carving stopes and tunnels in South Africa’s gold mines, miners were often faced with great dangers. To add insult to injury, the life of a miner was further affected by the ill treatment from malevolent mining officials. Miners were not allowed to visit families more than once or twice a year regardless of imploring letters from wives and children (the result of bringing in itinerant labor from the homelands), were poorly paid, and suffered serious health consequences from life in the dark and dusty tunnels.
In order to alleviate the stress of this kind of life, South African miners developed a dance of stomping and thigh slapping not unlike German lederhosen dances. These dances quickly became a form of communication (like a morse code) and entertainment for the miners. Officials often attempted to thwart Gumboots performances, but were not able to stop this expressive dance from becoming an international phenomenon. Today, Gumboots performances have made it to the stages of Broadway and London’s West End.
Sample sentences: Try your hand now at using your new words by writing them in their correct form (change endings if necessary) in these sentences:
1. The young man _____________ the police officer not to arrest him after he failed to produce his identity pass.
2. Mine workers in South Africa led an ________________ lifestyle, making it difficult to sustain relationships with their families.
3. The ________________ and passages under my house have caused it to tilt at a precarious angle.
4. The __________________ slaughter of an entire Zulu community by the river is remembered by the Blood River Monument in South Africa.
5. The police ________________ the school children’s uprising in Soweto by killing hundreds of kids, yet they were not able to quell the wave of ensuing protests.
Definitions: Match the new words with their dictionary meanings.
6. stope___ a. having or exhibiting ill will; wishing harm
to others; malicious.
7. itinerant___ b. an excavation in the form of steps made
by the mining of ore from steeply inclined
or vertical veins.
8. implore___ c. to beg, plead.
9. malevolent ___ d. to hinder, defeat
10. thwart___ e. traveling from place to place, especially
to perform work or a duty.
Today’s Idiom
Out of the frying pan into the fire - to go from a difficult situation to a worse one.
Name:____________________
South African Vocabulary
Day 4
New Words: veld(t) belittle din arrhythmia inter
Frightened by the Sound
The rumbling shook the rock causing the everyday din of the mines to come to an abrupt halt. Not a sound was to be heard. Joseph listened through the sounds of dripping water and thought he heard an arrhythmia in his chest. There had been a number of these tremors as of late and the baas had always tried to belittle the sounds and ordered everyone to keep working. Joseph noticed the baas was avoiding coming down to this level of the mine more and more over the last few days.
A crackle could be heard further down and suddenly all light disappeared. Joseph felt sweat drip down his nostrils. This was it. He would never see his children play. He would never see animals leaping along the veld again. He would be interred in this mine forever, a fossil. He heard the drip of water and saw only blackness surrounding.
Suddenly, the engines started up again; the lights switched back on. False alarm. He was lucky this time. Hopefully his luck would hold out until he was able to go back to his family.
Sample sentences: Try your hand now at using your new words by writing them in their correct form (change endings if necessary) in these sentences:
1. In the diamond mines, it was impossible to hear over the ____________ of the machines and the workers.
2. Although South Africa experienced great turmoil, the ___________ was still filled with some of the most exotic animals I had ever seen.
3. Although Ralph can’t play, he doesn’t hesitate to ___________ the efforts of our soccer team.
4. The crumbling of the diamond mine left two workers ____________ under the ground.
5. After the riots, the nervous student experienced a(n) ______________ as she walked down the alley late at night.
Definitions: Match the new words with their dictionary meanings.
6. veldt ___ a. any of the open grazing areas of southern Africa
7. belittle ___ b. an irregularity in the force or rhythm of the heartbeat
8. din ___ c. a jumble of loud, usually discordant sounds
9. arrhythmia ___ d. to make seem less important
10. inter ___ e. to place in a grave or tomb; bury
Today’s Idiom
a red herring-- something that diverts attention form the main issue (a red herring drawn across a fox’s path destroys the scent)
We felt that the introduction of his war record was a red herring to keep us from inquiring into his past work in the scandalous company.
South African Vocabulary
Day Three
New Words: stope thwart implore malevolent itinerant
Gumboots
Forced to work for hours deep underground carving stopes and tunnels in South Africa’s gold mines, miners were often faced with great dangers. To add insult to injury, the life of a miner was further affected by the ill treatment from malevolent mining officials. Miners were not allowed to visit families more than once or twice a year regardless of imploring letters from wives and children (the result of bringing in itinerant labor from the homelands), were poorly paid, and suffered serious health consequences from life in the dark and dusty tunnels.
In order to alleviate the stress of this kind of life, South African miners developed a dance of stomping and thigh slapping not unlike German lederhosen dances. These dances quickly became a form of communication (like a morse code) and entertainment for the miners. Officials often attempted to thwart Gumboots performances, but were not able to stop this expressive dance from becoming an international phenomenon. Today, Gumboots performances have made it to the stages of Broadway and London’s West End.
Sample sentences: Try your hand now at using your new words by writing them in their correct form (change endings if necessary) in these sentences:
1. The young man _____________ the police officer not to arrest him after he failed to produce his identity pass.
2. Mine workers in South Africa led an ________________ lifestyle, making it difficult to sustain relationships with their families.
3. The ________________ and passages under my house have caused it to tilt at a precarious angle.
4. The __________________ slaughter of an entire Zulu community by the river is remembered by the Blood River Monument in South Africa.
5. The police ________________ the school children’s uprising in Soweto by killing hundreds of kids, yet they were not able to quell the wave of ensuing protests.
Definitions: Match the new words with their dictionary meanings.
6. stope___ a. having or exhibiting ill will; wishing harm
to others; malicious.
7. itinerant___ b. an excavation in the form of steps made
by the mining of ore from steeply inclined
or vertical veins.
8. implore___ c. to beg, plead.
9. malevolent ___ d. to hinder, defeat
10. thwart___ e. traveling from place to place, especially
to perform work or a duty.
Today’s Idiom
Out of the frying pan into the fire - to go from a difficult situation to a worse one.
Name:____________________
South African Vocabulary
Day 4
New Words: veld(t) belittle din arrhythmia inter
Frightened by the Sound
The rumbling shook the rock causing the everyday din of the mines to come to an abrupt halt. Not a sound was to be heard. Joseph listened through the sounds of dripping water and thought he heard an arrhythmia in his chest. There had been a number of these tremors as of late and the baas had always tried to belittle the sounds and ordered everyone to keep working. Joseph noticed the baas was avoiding coming down to this level of the mine more and more over the last few days.
A crackle could be heard further down and suddenly all light disappeared. Joseph felt sweat drip down his nostrils. This was it. He would never see his children play. He would never see animals leaping along the veld again. He would be interred in this mine forever, a fossil. He heard the drip of water and saw only blackness surrounding.
Suddenly, the engines started up again; the lights switched back on. False alarm. He was lucky this time. Hopefully his luck would hold out until he was able to go back to his family.
Sample sentences: Try your hand now at using your new words by writing them in their correct form (change endings if necessary) in these sentences:
1. In the diamond mines, it was impossible to hear over the ____________ of the machines and the workers.
2. Although South Africa experienced great turmoil, the ___________ was still filled with some of the most exotic animals I had ever seen.
3. Although Ralph can’t play, he doesn’t hesitate to ___________ the efforts of our soccer team.
4. The crumbling of the diamond mine left two workers ____________ under the ground.
5. After the riots, the nervous student experienced a(n) ______________ as she walked down the alley late at night.
Definitions: Match the new words with their dictionary meanings.
6. veldt ___ a. any of the open grazing areas of southern Africa
7. belittle ___ b. an irregularity in the force or rhythm of the heartbeat
8. din ___ c. a jumble of loud, usually discordant sounds
9. arrhythmia ___ d. to make seem less important
10. inter ___ e. to place in a grave or tomb; bury
Today’s Idiom
a red herring-- something that diverts attention form the main issue (a red herring drawn across a fox’s path destroys the scent)
We felt that the introduction of his war record was a red herring to keep us from inquiring into his past work in the scandalous company.
APartheid Reading #2 Questions
Name:
Study Guide-Part II
1. How did blacks, coloureds, and Asians protest the increased restrictions placed on them in the early years of South Africa Union? Give two examples.
a.
b.
2. What influence did Gandhi have in South Africa?
3. Fill in the following chart.
Act Year Implemented Purpose of act
Prohibition of
Mixed Marriages
Act
Population
Registration
Ac
Group
Areas Act
Suppression
of
Communism
Act
4. What was the purpose of the Defiance Campaign?
5. Why did the various anti-apartheid groups join together as the congress Alliance?
6. How did the government respond to the Freedom Charter?
7. What did the Alexandra bus boycott show both apartheid supporters and protestors?
8. Why were PAC leaders unhappy with the ANC? Give three reasons.
a.
b.
c.
9. Why did the protest at Sharpeville become violent? Was someone at fault? Explain.
Study Guide-Part II
1. How did blacks, coloureds, and Asians protest the increased restrictions placed on them in the early years of South Africa Union? Give two examples.
a.
b.
2. What influence did Gandhi have in South Africa?
3. Fill in the following chart.
Act Year Implemented Purpose of act
Prohibition of
Mixed Marriages
Act
Population
Registration
Ac
Group
Areas Act
Suppression
of
Communism
Act
4. What was the purpose of the Defiance Campaign?
5. Why did the various anti-apartheid groups join together as the congress Alliance?
6. How did the government respond to the Freedom Charter?
7. What did the Alexandra bus boycott show both apartheid supporters and protestors?
8. Why were PAC leaders unhappy with the ANC? Give three reasons.
a.
b.
c.
9. Why did the protest at Sharpeville become violent? Was someone at fault? Explain.
Thursday, March 18, 2010
Kaffir Boy Study Guide
Global Literature Name:_______________________
Kaffir Boy Study Guide
1. In the introduction, Mark Mathabane explains the system of Apartheid and how he escaped its clutches. How did Mark Mathabane escape the poverty of the Alexandra ghetto?
2. The living conditions of South Africans in the Bantu locations (forced homelands) were especially cruel. Who lived in these areas and how did the government keep most white South Africans and the world ignorant to the extent of these conditions?
3. Describe Alexandra. How was society structured? How were jobs and living conditions based on skin color?
4. On the map of South Africa, show where Mark’s parents came from? Why might they have moved to Alexandra?
5. Who were the Peri-Urban? Describe their weapon.
6. What is the problem regarding Mark’s mother’s passbook? How is this resolved?
7. How does Mark treat his siblings when the Peri-Urban are in the neighborhood? How could one explain his actions? Give specific examples.
8. Who are the Msomi?
9. Although the Peri-Urban decide to leave Mark’s family alone they have already accomplished something that affects Mark? What is this?
Kaffir Boy Study Guide
1. In the introduction, Mark Mathabane explains the system of Apartheid and how he escaped its clutches. How did Mark Mathabane escape the poverty of the Alexandra ghetto?
2. The living conditions of South Africans in the Bantu locations (forced homelands) were especially cruel. Who lived in these areas and how did the government keep most white South Africans and the world ignorant to the extent of these conditions?
3. Describe Alexandra. How was society structured? How were jobs and living conditions based on skin color?
4. On the map of South Africa, show where Mark’s parents came from? Why might they have moved to Alexandra?
5. Who were the Peri-Urban? Describe their weapon.
6. What is the problem regarding Mark’s mother’s passbook? How is this resolved?
7. How does Mark treat his siblings when the Peri-Urban are in the neighborhood? How could one explain his actions? Give specific examples.
8. Who are the Msomi?
9. Although the Peri-Urban decide to leave Mark’s family alone they have already accomplished something that affects Mark? What is this?
Thursday, March 11, 2010
Letter to Mr.K
Letter to Mr.K
Transition
1. What have been your strengths/ weaknesses in making the transition to high school?
2. As a student, what are your strengths? In what areas would you like to improve?
3. What has been your greatest success in high school thus far?
4. What is your action plan for making the improvements you’d like to see? What’s your plan to maintain your strengths?
Music and Poetry
1. Describe your current relationship with music?
2. What are some of your favorite groups/bands, songs, genres, etc?
3. Describe your current relationship with poetry.
4. What are some of your favorite poems/ poets?
5. Describe one poem or song that you connect with. What is it about this poem or song that causes you to connect so strongly?
Transition
1. What have been your strengths/ weaknesses in making the transition to high school?
2. As a student, what are your strengths? In what areas would you like to improve?
3. What has been your greatest success in high school thus far?
4. What is your action plan for making the improvements you’d like to see? What’s your plan to maintain your strengths?
Music and Poetry
1. Describe your current relationship with music?
2. What are some of your favorite groups/bands, songs, genres, etc?
3. Describe your current relationship with poetry.
4. What are some of your favorite poems/ poets?
5. Describe one poem or song that you connect with. What is it about this poem or song that causes you to connect so strongly?
Thursday, February 25, 2010
QUestions for the final Kenya articles
Global Literature Part I: Final Essay
The River Between
Read the articles in the packet, then answer one question from Section A and one question from Section B, below. Your goal is to explore these issues intelligently and to apply your understanding of The River Between.
Requirements:
- Answers must be thoughtful and complete.
- All answers must be typed and proofread.
- There is no set length requirement; quality is more important than quantity.
- Answers must be supported with examples from the texts.
- Go beyond the book and articles: analyze, interpret, and critique the materials.
Questions
Section A: Respond to one of the questions in this section. Support your response with at least one specific example from The River Between, and at least two specific examples from the articles in your packet. Use quotation marks and include the page number.
1. What, if anything, should be done about the loss of culture and traditions that is occurring throughout the world?
Consider: Cultures inevitably change as they come into contact with outside ideas and influences AND currently, there are over 6,000 cultures around the world on the brink of extinction. What do The River Between and the articles on education say about the loss of culture? What are the dangers of losing these cultures? What are the positives of a more homogeneous world culture? What are some ways to begin to address this problem?
2. What is the appropriate role of education in Kenya today?
Consider: What role does education play in the conflict between tradition and modernity, or cultural survival vs. cultural extinction? What is your cultural lens when it comes to education? If you’d grown up in Kenya during the times described in The River Between, how might your lens be different? What is the value of tradition? Does this conflict with the need for education? How?
Section B: Respond to one of the following questions. Support your response with at least one specific example from The River Between. Use quotation marks and include the page #.
1. Does Ngugi believe Waiyaki succeeds in fulfilling the prophecy?
Consider: Figurative language and theme. In great literary works, authors use literary devices to explore themes and questions about what it means to be human. These devices include plot structure, figurative language (symbols, metaphors, similes, personification, etc.), setting, character development, and literary allusions. Throughout the novel, how did Ngugi use literary devices to support his opinions regarding these questions? How and why did the author decide to turn Waiyaki into a Christ-like figure?
2. Which does Ngugi believe is more important: duty to family and community, or individual freedom, dreams, and goals?
Consider: (same as above)
You must bring these responses to your next class in order to participate in Part II of the Final Essay process.
The River Between
Read the articles in the packet, then answer one question from Section A and one question from Section B, below. Your goal is to explore these issues intelligently and to apply your understanding of The River Between.
Requirements:
- Answers must be thoughtful and complete.
- All answers must be typed and proofread.
- There is no set length requirement; quality is more important than quantity.
- Answers must be supported with examples from the texts.
- Go beyond the book and articles: analyze, interpret, and critique the materials.
Questions
Section A: Respond to one of the questions in this section. Support your response with at least one specific example from The River Between, and at least two specific examples from the articles in your packet. Use quotation marks and include the page number.
1. What, if anything, should be done about the loss of culture and traditions that is occurring throughout the world?
Consider: Cultures inevitably change as they come into contact with outside ideas and influences AND currently, there are over 6,000 cultures around the world on the brink of extinction. What do The River Between and the articles on education say about the loss of culture? What are the dangers of losing these cultures? What are the positives of a more homogeneous world culture? What are some ways to begin to address this problem?
2. What is the appropriate role of education in Kenya today?
Consider: What role does education play in the conflict between tradition and modernity, or cultural survival vs. cultural extinction? What is your cultural lens when it comes to education? If you’d grown up in Kenya during the times described in The River Between, how might your lens be different? What is the value of tradition? Does this conflict with the need for education? How?
Section B: Respond to one of the following questions. Support your response with at least one specific example from The River Between. Use quotation marks and include the page #.
1. Does Ngugi believe Waiyaki succeeds in fulfilling the prophecy?
Consider: Figurative language and theme. In great literary works, authors use literary devices to explore themes and questions about what it means to be human. These devices include plot structure, figurative language (symbols, metaphors, similes, personification, etc.), setting, character development, and literary allusions. Throughout the novel, how did Ngugi use literary devices to support his opinions regarding these questions? How and why did the author decide to turn Waiyaki into a Christ-like figure?
2. Which does Ngugi believe is more important: duty to family and community, or individual freedom, dreams, and goals?
Consider: (same as above)
You must bring these responses to your next class in order to participate in Part II of the Final Essay process.
The River Between FInal Discussion
The River Between Names: _______________________
Final Discussion ________________________
1. Do you think Waiyaki succeeded in uniting the ridges (i.e. following the prophecy)?
Explain:
2. What, do you think, happened to Waiyaki and Nyambura?
3. Do you think Waiyaki made a mistake in asking Nyambura to marry him?
4. In The River Between, Ngugi wa Thiong’o explores the following question: Is it possible for traditional beliefs/communities and colonial societies to come together or does colonialism create such deep chasms within colonized communities that the future of such communities is sabotaged? Based on what he wrote in the novel, how does Ngugi wa Thiong’o answer this question?
Over →
5. There are many parallel characters in this novel. Can you match them up? (Several characters are used more than once.)
These characters:
A. Want to unite Christianity and traditional beliefs
B. See themselves as saviors
C. Are struggling with a choice: should they betray or harm a person they love?
D. Have dominating fathers
What might be the purpose of all these parallel characters?
Final Discussion ________________________
1. Do you think Waiyaki succeeded in uniting the ridges (i.e. following the prophecy)?
Explain:
2. What, do you think, happened to Waiyaki and Nyambura?
3. Do you think Waiyaki made a mistake in asking Nyambura to marry him?
4. In The River Between, Ngugi wa Thiong’o explores the following question: Is it possible for traditional beliefs/communities and colonial societies to come together or does colonialism create such deep chasms within colonized communities that the future of such communities is sabotaged? Based on what he wrote in the novel, how does Ngugi wa Thiong’o answer this question?
Over →
5. There are many parallel characters in this novel. Can you match them up? (Several characters are used more than once.)
These characters:
A. Want to unite Christianity and traditional beliefs
B. See themselves as saviors
C. Are struggling with a choice: should they betray or harm a person they love?
D. Have dominating fathers
What might be the purpose of all these parallel characters?
Tuesday, February 23, 2010
Kenya Penpals
Kenya Pen Pals
In groups of two, you will be contacting and corresponding with a student attending Muhayo High School in Nyeri, Kenya. They have been busy at work on the following project regarding Kenyan culture:
“We're starting a program called the Utenzi project. Utenzi are heraldic poems from ancient Kenya, usually in celebration of some warrior or battle feat. We want to revive them in both English and Swahili, and see if we can gain insights into African culture by writing new ones. I think this dovetails quite nicely with the book you're studying (The River Between). You can see the Utenzi site at sites.google.com/site/utenziproject.”
Since this is our first time contacting the school you will need to introduce yourself. It is nice to include information about your family, interests, and community. Since this the internet age, you may also attach photos of you and your friends, family, community as well. This adds a lot to your initial contact.
For the first connection, you will be introducing yourself and starting a conversation. You can begin this conversation by asking your pen pal questions similar to the ones listed below while providing your own answers to these questions. You will both be writing your own email but can decide who will answer which of the topics below.
Adulthood
1. What is an “adult”?
2. In mainstream U.S. culture, what does a person typically need in order to become or be considered a “grown up”?
3. Are there any ceremonies in U.S. culture that mark this transition from childhood to adulthood? What are they?
4. What do most coming of age ceremonies have in common?
5. Design your own coming of age ceremony. Where would it take place? Who would be there? What would you/they do? Why? How would the actions show that you are now an adult?
Leadership
1. What is “leadership”?
2. What is a “leader”? What makes a good leader?
3. In mainstream U.S. culture, what does a person typically need in order to become a successful leader?
4. Can you think of any unsuccessful leaders? Why do you think they failed?
5. Describe an experience you had with leadership. Were you successful? How could you tell? If you had the chance to do the experience over again, what might you do differently?
In groups of two, you will be contacting and corresponding with a student attending Muhayo High School in Nyeri, Kenya. They have been busy at work on the following project regarding Kenyan culture:
“We're starting a program called the Utenzi project. Utenzi are heraldic poems from ancient Kenya, usually in celebration of some warrior or battle feat. We want to revive them in both English and Swahili, and see if we can gain insights into African culture by writing new ones. I think this dovetails quite nicely with the book you're studying (The River Between). You can see the Utenzi site at sites.google.com/site/utenziproject.”
Since this is our first time contacting the school you will need to introduce yourself. It is nice to include information about your family, interests, and community. Since this the internet age, you may also attach photos of you and your friends, family, community as well. This adds a lot to your initial contact.
For the first connection, you will be introducing yourself and starting a conversation. You can begin this conversation by asking your pen pal questions similar to the ones listed below while providing your own answers to these questions. You will both be writing your own email but can decide who will answer which of the topics below.
Adulthood
1. What is an “adult”?
2. In mainstream U.S. culture, what does a person typically need in order to become or be considered a “grown up”?
3. Are there any ceremonies in U.S. culture that mark this transition from childhood to adulthood? What are they?
4. What do most coming of age ceremonies have in common?
5. Design your own coming of age ceremony. Where would it take place? Who would be there? What would you/they do? Why? How would the actions show that you are now an adult?
Leadership
1. What is “leadership”?
2. What is a “leader”? What makes a good leader?
3. In mainstream U.S. culture, what does a person typically need in order to become a successful leader?
4. Can you think of any unsuccessful leaders? Why do you think they failed?
5. Describe an experience you had with leadership. Were you successful? How could you tell? If you had the chance to do the experience over again, what might you do differently?
Thursday, February 18, 2010
Golden Lines
FInd an example of a simile, metaphor, or personification in The River Between. Then, create an artistic representation of the figurative language like the ones above. Some lines you may use include:
"There shall come a people with clothes like butterflies"(2)
"The white man cannot speak the language of the hills" (7)
"The hidden things of the hills were being revealed to him" (14)
"The rumours! Spreading like fire in a plain of dry grass" (122)
The Rvier Between Study Guide #4
Global Literature
Unit: River Between
Study Guide 4, Chapters 17-21 (PP.84-116)
Teachers assign study guides for literary works to make sure that you pay attention to theme, plot, and character developments, deeper meanings, and stylistic choices that the teacher believes are essential in understanding the work. However, the ability to discover these deeper meanings and structures on your own is essential in developing the mind of an analytical reader. Therefore, for chapters 17 through 21 you will be responsible for writing 10 thoughtful questions and answers that delve into the subtext, or deeper layers of The River Between. Write down chapter(s) that inspired your questions. Use the following list to inspire you.
Some great questions about literary works:
How has the character changed?
How can you explain a character’s behavior (motivation)?
How are personal and bigger literary conflicts developed?
How does the setting relate to the plot or theme?
How does the structure of the work (order of events, etc) influence the reader’s experience?
What are some interesting stylistic choices the author has made (use of language)?
What are some examples of figurative language (symbols, metaphors, similes, personification)?
How is this work relevant today?
What does this work tell us about the time/place in which it is set?
How objective is the author? How objective/trustworthy is the main character/narrator?
How does the work relate to other literary works (through allusions, or compare/contrast major themes)?
What does this work teach us about human nature/beings?
How are the characters like/unlike me?
At the bottom of your list you can write any questions you don’t know the answer to.
Unit: River Between
Study Guide 4, Chapters 17-21 (PP.84-116)
Teachers assign study guides for literary works to make sure that you pay attention to theme, plot, and character developments, deeper meanings, and stylistic choices that the teacher believes are essential in understanding the work. However, the ability to discover these deeper meanings and structures on your own is essential in developing the mind of an analytical reader. Therefore, for chapters 17 through 21 you will be responsible for writing 10 thoughtful questions and answers that delve into the subtext, or deeper layers of The River Between. Write down chapter(s) that inspired your questions. Use the following list to inspire you.
Some great questions about literary works:
How has the character changed?
How can you explain a character’s behavior (motivation)?
How are personal and bigger literary conflicts developed?
How does the setting relate to the plot or theme?
How does the structure of the work (order of events, etc) influence the reader’s experience?
What are some interesting stylistic choices the author has made (use of language)?
What are some examples of figurative language (symbols, metaphors, similes, personification)?
How is this work relevant today?
What does this work tell us about the time/place in which it is set?
How objective is the author? How objective/trustworthy is the main character/narrator?
How does the work relate to other literary works (through allusions, or compare/contrast major themes)?
What does this work teach us about human nature/beings?
How are the characters like/unlike me?
At the bottom of your list you can write any questions you don’t know the answer to.
The Rvier Between Study Guide 1
The River Between Study Guide #1
Use your book to write brief responses to the following questions. Include a page number reference next to each response. (30 points)
Chapter 1
1 Draw the two ridges and the river. Name them and, as you continue reading, add characters, beliefs, and places of historical and mystical significance to your sketch.
2 What is the source of antagonism between the ridges? (pg. )
3 Who are Mugo wa Kibiro, Kamiri, and Wachiori? (pg. )
4. Why does Ngugi tell the reader about Mugo wa Kibiro, Kamiri, and Wachiori?
Chapter 2
1 Explain what was meant with the insult “white man’s slave”? Who is the white man’s slave? (pg. )
2 The famine mentioned in this chapter is the same as the one mentioned in “Facing Mount Kenya,” therefore this novel is set in what time period? What was happening in Kenya at this time?
3 List three specific similarities between the information in “Facing Mount Kenya” and this chapter.
A. (pg. )
B. (pg. )
C. (pg. )
4. What is Siriana? (pg. )
Chapter 3
1. What is Demi na Mathathi? (pg. )
2. Why do the boys tell Waiyaki he could not be Demi na Mathathi? (pg. )
3. What is unusual about Waiyaki’s eyes? (pg. )
4. What is unusual about Waiyaki's second birth ceremony? (pg. )
Chapter 4
1. Name three things about traditional life that Chege teaches Waiyaki, during their trip.
A. (pg. )
B. (pg. )
C. (pg. )
Chapter 5
1. Why did Chege take Waiyaki to the sacred grove? (pg. )
2. Waiyaki and Chege are decendents of which great Gikuyu? (pg. )
3. What responsibility/role was given to Waiyaki on the mountain? (pg. )
4. Why does Chege send Waiyaki to Siriana and what warning does he give him? (pg. )
5. What do the missionaries see in Waiyaki? How does this set up a conflict? (pg. )
Chapters 1-5
1. Ngugi wa Thiong’o uses foreshadowing throughout this novel. Give three specific examples of lines/events that lead you to make predictions about the rest of the novel.
A. (pg. )
B. (pg. )
C. (pg. )
What are your predictions?
2. Figurative language is used by authors to communicate beyond the ordinary or literal meaning of the words. For example: "[The ridges] were like many sleeping lions which never woke" (1). Give one example of figurative language from these chapters (metaphor, similes, personification, etc.).
(pg. ):
3. Write down one line that you find especially beautiful for the image it evokes.
Use your book to write brief responses to the following questions. Include a page number reference next to each response. (30 points)
Chapter 1
1 Draw the two ridges and the river. Name them and, as you continue reading, add characters, beliefs, and places of historical and mystical significance to your sketch.
2 What is the source of antagonism between the ridges? (pg. )
3 Who are Mugo wa Kibiro, Kamiri, and Wachiori? (pg. )
4. Why does Ngugi tell the reader about Mugo wa Kibiro, Kamiri, and Wachiori?
Chapter 2
1 Explain what was meant with the insult “white man’s slave”? Who is the white man’s slave? (pg. )
2 The famine mentioned in this chapter is the same as the one mentioned in “Facing Mount Kenya,” therefore this novel is set in what time period? What was happening in Kenya at this time?
3 List three specific similarities between the information in “Facing Mount Kenya” and this chapter.
A. (pg. )
B. (pg. )
C. (pg. )
4. What is Siriana? (pg. )
Chapter 3
1. What is Demi na Mathathi? (pg. )
2. Why do the boys tell Waiyaki he could not be Demi na Mathathi? (pg. )
3. What is unusual about Waiyaki’s eyes? (pg. )
4. What is unusual about Waiyaki's second birth ceremony? (pg. )
Chapter 4
1. Name three things about traditional life that Chege teaches Waiyaki, during their trip.
A. (pg. )
B. (pg. )
C. (pg. )
Chapter 5
1. Why did Chege take Waiyaki to the sacred grove? (pg. )
2. Waiyaki and Chege are decendents of which great Gikuyu? (pg. )
3. What responsibility/role was given to Waiyaki on the mountain? (pg. )
4. Why does Chege send Waiyaki to Siriana and what warning does he give him? (pg. )
5. What do the missionaries see in Waiyaki? How does this set up a conflict? (pg. )
Chapters 1-5
1. Ngugi wa Thiong’o uses foreshadowing throughout this novel. Give three specific examples of lines/events that lead you to make predictions about the rest of the novel.
A. (pg. )
B. (pg. )
C. (pg. )
What are your predictions?
2. Figurative language is used by authors to communicate beyond the ordinary or literal meaning of the words. For example: "[The ridges] were like many sleeping lions which never woke" (1). Give one example of figurative language from these chapters (metaphor, similes, personification, etc.).
(pg. ):
3. Write down one line that you find especially beautiful for the image it evokes.
Wednesday, February 17, 2010
River Between Study Guide #3
Name:___________________
The River Between Study Guide #3
Use your book to write brief responses to the following questions. Include a page number reference next to each response. (30 points)
Chapter 12
1. What action has Kabonyi taken and how does Waiyaki feel about this situation? (pg. )
2. What new law of the church has been put into effect? How would this affect Waiyaki? (pg. )
3. What event is implied at the end of chapter 12?
Chapter 13
1. Why did Waiyaki and Kamau dislike each other? (pg. )
2. What is the “new kiama”? (pg. )
3. What might Ngugi have intended with his emphasis on water and rain in this chapter? (pg. )
4. A symbol is a concrete object used to represent an idea. Explain some of the water symbolism in this chapter. (pg. )
5. What could the rain be compared to on page 66?
Chapter 14
1. What was Marioshoni? Whose idea had it been? Why has it come into existence? (pg. )
2. How do chapters 13 and 14 seem out of order? Explain why Ngugi might have put them in the order he did.
3. What is “the white man’s magic”? (pg. )
4. The importance of circumcision in Gikuyu culture is reviewed on page 68. Summarize what it says.
5. Reread the description of the rivalry between Makuyu and Kameno (p. 69-70). Describe where the rivalry is now, what each side stands for, and Waiyaki’s place in the rivalry.
Chapter 15
1. Personification is a figure of speech in which a nonhuman thing is given human characteristics. Give an example of personification on page 73.
2. “And all at once, Waiyaki recognized the shape in his mind that had refused to melt into nothingness.” (p. 74) Identify who/ what the shape is.
3. Nyambura’s emotional state since the death of Muthoni has been one of great loneliness and grief. Where does she find companionship?
Chapter 16
1. Using context clues, define the following words:
thingira (p. 78)
Shambas (p. 79)
2. Give a two sentence description of Njahi. (p. 79)
3. Describe Waiyaki’s confusion regarding the following in this chapter:
The old prophecy:
Kabonyi:
4. Why did Waiyaki forgive Nyambura for not visiting him at the school as they had agreed? (pg. )
5. Waiyaki receives a warning from______________ at his mother’s hut. This person tells him to be careful of ______________, who dislikes Waiyaki out of ______________.
(pg. )
The River Between Study Guide #3
Use your book to write brief responses to the following questions. Include a page number reference next to each response. (30 points)
Chapter 12
1. What action has Kabonyi taken and how does Waiyaki feel about this situation? (pg. )
2. What new law of the church has been put into effect? How would this affect Waiyaki? (pg. )
3. What event is implied at the end of chapter 12?
Chapter 13
1. Why did Waiyaki and Kamau dislike each other? (pg. )
2. What is the “new kiama”? (pg. )
3. What might Ngugi have intended with his emphasis on water and rain in this chapter? (pg. )
4. A symbol is a concrete object used to represent an idea. Explain some of the water symbolism in this chapter. (pg. )
5. What could the rain be compared to on page 66?
Chapter 14
1. What was Marioshoni? Whose idea had it been? Why has it come into existence? (pg. )
2. How do chapters 13 and 14 seem out of order? Explain why Ngugi might have put them in the order he did.
3. What is “the white man’s magic”? (pg. )
4. The importance of circumcision in Gikuyu culture is reviewed on page 68. Summarize what it says.
5. Reread the description of the rivalry between Makuyu and Kameno (p. 69-70). Describe where the rivalry is now, what each side stands for, and Waiyaki’s place in the rivalry.
Chapter 15
1. Personification is a figure of speech in which a nonhuman thing is given human characteristics. Give an example of personification on page 73.
2. “And all at once, Waiyaki recognized the shape in his mind that had refused to melt into nothingness.” (p. 74) Identify who/ what the shape is.
3. Nyambura’s emotional state since the death of Muthoni has been one of great loneliness and grief. Where does she find companionship?
Chapter 16
1. Using context clues, define the following words:
thingira (p. 78)
Shambas (p. 79)
2. Give a two sentence description of Njahi. (p. 79)
3. Describe Waiyaki’s confusion regarding the following in this chapter:
The old prophecy:
Kabonyi:
4. Why did Waiyaki forgive Nyambura for not visiting him at the school as they had agreed? (pg. )
5. Waiyaki receives a warning from______________ at his mother’s hut. This person tells him to be careful of ______________, who dislikes Waiyaki out of ______________.
(pg. )
Monday, February 15, 2010
River Between Study Guide #2
Name _____________
The River Between Study Guide #2
Use your book to write brief responses to the following questions. Include a page number reference next to each response. (30 points)
Chapter 6
1. Why does Nyambura feel guilty for thinking about circumcision? Use direct quotes in your response. (pg. )
2. Why does Muthoni feel distraught? (pg. )
3. Why does Muthoni feel that her father’s ideas about circumcision are hypocritical? (pg. )
4. Again, Ngugi wa Thiong’o uses foreshadowing. What is the bad omen, and what does it tell us? (pg. )
Chapter 7
1. Discuss the symbolism used in the following passage:
Joshua’s house was different. His was a tin-roofed rectangular building standing quite distinctly by itself on the ridge. The tin roof was already decaying and let in rain freely, so on top of the roof could be seen little scraps of sacking that covered the very bad parts. The building, standing so distinctly and defiantly, was perhaps an indication that the isolation of Makuyu from the rest of the world was being broken down (28).
2. Discuss the irony of Joshua’s tirade against Mugo wa Kibiro on p. 29.
3. What is Ngugi wa Thiong’o’s purpose in mentioning Christmas and the initiation rites in the same sentence on p. 30?
4. What is the significance of Joshua’s view of himself as someone who would lead the people out of Egypt and to the Promised Land? (pg. )
5. Why does Joshua beat Miriamu? (pg. )
6. Why are the people of the ridges growing angry at Joshua? (pg. )
Chapter 8
1. Discuss Miriamu’s inner conflict. (pg. )
2. As you read this chapter, be alert to the harsh verbs Ngugi uses to describe Joshua’s interactions with his family members. Three of these are:
A.
B.
C.
3. Why does Joshua say, “From that day Muthoni ceased to exist for him” and, “Let her go back to Egypt. He, Joshua, would travel, on, on to the new Jerusalem”? (pg. )
Chapter 9
1. Chege believes, on page 38, that there are ways other than taking up guns, to beat the white man. What, do you think, is he referring to? (pg. )
2. What is the significance of Waiyaki’s reluctance at the ceremonial dance? (pg. )
3. List three details that describe the initiation ceremony.
A.
B.
C.
4. Why does Muthoni’s rebellion have a great impact on Waiyaki? (pg. )
Chapter 10
1. Explain the symbolism of the mist covering the ridges.
2. What does the river symbolize in this first paragraph?
3. What is the significance of the blood sinking into the soil?
Chapter 11
1. What is the significance of the following quotation: “Waiyaki…..tell Nyambura I see Jesus. And I am a woman, beautiful in the tribe….” (53).
2. How does Chege see Muthoni’s death? Why is he worried? (pg. )
3. How is the death perceived at Siriana? (pg. )
4. Why does Livingstone believe that Muthoni's death means "the war was now on"? (pg. )
The River Between Study Guide #2
Use your book to write brief responses to the following questions. Include a page number reference next to each response. (30 points)
Chapter 6
1. Why does Nyambura feel guilty for thinking about circumcision? Use direct quotes in your response. (pg. )
2. Why does Muthoni feel distraught? (pg. )
3. Why does Muthoni feel that her father’s ideas about circumcision are hypocritical? (pg. )
4. Again, Ngugi wa Thiong’o uses foreshadowing. What is the bad omen, and what does it tell us? (pg. )
Chapter 7
1. Discuss the symbolism used in the following passage:
Joshua’s house was different. His was a tin-roofed rectangular building standing quite distinctly by itself on the ridge. The tin roof was already decaying and let in rain freely, so on top of the roof could be seen little scraps of sacking that covered the very bad parts. The building, standing so distinctly and defiantly, was perhaps an indication that the isolation of Makuyu from the rest of the world was being broken down (28).
2. Discuss the irony of Joshua’s tirade against Mugo wa Kibiro on p. 29.
3. What is Ngugi wa Thiong’o’s purpose in mentioning Christmas and the initiation rites in the same sentence on p. 30?
4. What is the significance of Joshua’s view of himself as someone who would lead the people out of Egypt and to the Promised Land? (pg. )
5. Why does Joshua beat Miriamu? (pg. )
6. Why are the people of the ridges growing angry at Joshua? (pg. )
Chapter 8
1. Discuss Miriamu’s inner conflict. (pg. )
2. As you read this chapter, be alert to the harsh verbs Ngugi uses to describe Joshua’s interactions with his family members. Three of these are:
A.
B.
C.
3. Why does Joshua say, “From that day Muthoni ceased to exist for him” and, “Let her go back to Egypt. He, Joshua, would travel, on, on to the new Jerusalem”? (pg. )
Chapter 9
1. Chege believes, on page 38, that there are ways other than taking up guns, to beat the white man. What, do you think, is he referring to? (pg. )
2. What is the significance of Waiyaki’s reluctance at the ceremonial dance? (pg. )
3. List three details that describe the initiation ceremony.
A.
B.
C.
4. Why does Muthoni’s rebellion have a great impact on Waiyaki? (pg. )
Chapter 10
1. Explain the symbolism of the mist covering the ridges.
2. What does the river symbolize in this first paragraph?
3. What is the significance of the blood sinking into the soil?
Chapter 11
1. What is the significance of the following quotation: “Waiyaki…..tell Nyambura I see Jesus. And I am a woman, beautiful in the tribe….” (53).
2. How does Chege see Muthoni’s death? Why is he worried? (pg. )
3. How is the death perceived at Siriana? (pg. )
4. Why does Livingstone believe that Muthoni's death means "the war was now on"? (pg. )
Wednesday, February 10, 2010
Judgment Tales of the Nkudo in Congo
What Do You Think?
Retold By: Jan Knappert
1. Deaf and Blind: Two men lived together in a house. One deaf, the other was blind. Over the years they learned to communicate with each other. One night Blind woke is companion. He had heard war drum and knew it was time they fled into the forest. Led by deaf, who knew his way, they escaped the onslaught of a terrible enemy.
In the forest, Blind heard coughing. So he signaled to his companion Deaf. “Go and find the woman that I hear coughing, not far in that direction,” he directed, pointing to where he had heard the cough.
So deaf found the woman. After he brought her back, both men decided that they wanted to marry he woman. Deaf argued; “If I had not been able to find my way anywhere in the forest, we would have been lost and never found this woman. I may marry her.”
Is he right?
2. Doctor, driver, and messenger: A man had a daughter who was gravely ill. Indeed, she was dying. He said: “The one who saves her may marry her.”
A messenger went to the doctor. He ran all night, for the doctor lived far away, and told the doctor about the dying girl. A driver was found who could drive the doctor in his car to the patient. They arrived just in time. The doctor applied his medicine, and the girl was saved from the jaws of death.
She was a very beautiful woman. Each of the three men- the doctor, the driver, and the messenger- wanted to marry her. Each claimed that without his
3. Ifambe and his wives: Ifambe had two wives. The first wife hoed a plot of land and planted sugarcane, which grew abundantly. The second wife also wanted her own garden. She cut down the undergrowth not far from their villages. She then asked their husband to do the heavy cutting for her.
So, one morning he took his ax and went to her plot to chop down the big trees. Now this young wife brought his neither food nor even a pot of beer for his lunch. So, after working for several hours in the hot sun, he decided to go and cut some sugarcane on the plantation of his first wife. As he was approaching the canes, he surprised a poor man who was stealing some of the crop.
The owner raised his machete, ready to kill the intruder. “Don not kill me! I will be your slave!” cried the thief.
So Ifambe took him prisoner and brought him home. But Ifambe’s first wife claimed the man as her property, saying: “He must be my slave. He was found on my land and stealing my crops. Ifambe went to eat my sugarcane because no one brought him food and that is how he came
“Not so,” said the second wife. “Ifambe was working for me at the time. He would not have been there at all if I had not asked him to do that job for me. So the slave belongs to me.”
So Ifambe brought the matter before the council of elders. Who do you think wins the case?
4. The ring: A man had three servants. He also had a ring of great value. One day the man was deceived by his wife; she made him drunk and ran away with the ring to her own village. The first servant, Rat, followed her and bit her finger. He got the ring of, swallowed it, and ran away. But Rat was killed on the way home.
The second servant, Hawk, went in search of Rat and found him. He carried Rat’s body as far as the river, but, as he was making his crossing, the river’s strong current carried Rat’s corpse downstream. There it was eaten by fish.
Many days later the third servant, went to fish in the river. He caught a fish, brought it home, and cut it open to prepare it for cooking. There in the stomach of the fish, was his master’s ring!
Of course the ring’s was very happy. They all lived on for many years until eventually the owner died. He had no children, so his servants were to inherit from him. Hawk and Cat disputed with each other over the possession of the ring, each claiming that without his efforts the ring would have been lost. Who should win?
5. The disputed pig: There was once a man who had three wives. One day he went out into the forest to hint. He speared a wild boar, but it did not die immediately. Instead it charged and wounded him. Both hunter and hunted lay dying.
At that same time- it was during the heat of the day- the first wife had a dream. In it, she saw her husband lying dead. She woke up and told her two co wives to come and find their husband, great misfortune must have happened.
The second wife was an expert at trail finding. She could detect from the minutest of traces- a broken twig, a crumpled leaf- if man or beast had passed through the forest. She led her co wives straight to the spot where their husband lay dying from the wounds caused by the boar’s tusks.
Now the third wife was an expert at medicines. She bandaged his wounds and rubbed the powder of life into his nose. He sneezed, woke up, and felt himself healthy again. He immediately finished off the boar.
The three wives disputed with each other the right to the boar’s meat. Each wife claimed that, without her help, their husband would now be dead. Which wife has the greatest claim?
6. The three wives: A certain man had three wives. Together, they went into the forest to pick fruits. They found a tree, and the man climbed into it. Alas! A branch snapped and he fell, breaking an arm. There he lay, as if dead. One wife said: “Now that he is dead I must go back to our village and look after our children.”
The second wife said: “I don’t want to live without our husband. I am going to drown myself in the river.” Away she went, mad with grief.
The third wife said: “I don’t want to go anywhere. I will stay with our husband until I die.”
On her way to the river the second wife met a merchant who said: “What’s the matter, why are you crying?”
She told what had happened. He said: “I am a doctor. I will cure your husband. But I will have one of you as my wife.”
He went with her and treated the husband. When the latter was cured, the doctor demanded one of his wives. Which of his three wives should the man give to the doctor?
7. Njela the murderer: Njela was employed by a man had a very beautiful daughter. Njela fell in love with her, but she refused him. He was furious and killed her. He then fled to his mother and asked one of his friends what to do. The friend said: “Behave like a madman.”
So Njela went back to his employer, but instead of working he giggled, cried, and rolled in the mud. His employer said: “This man does not know what he is doing.”
So, instead of accusing Njela of murder, the employer sent him to a doctor. The doctor “cured” Njela, and the murderer went back to his mother’s house. Then his friend paid a call. “If it had not been for me,” said the friend, “you would now be in prison therefore, pay me for my useful advice.”
“No,” said Njela. “I helped myself. If I had not killed someone, you would not have had that wisdom. You spoke only a few words. I rescued myself.”
Who is right?
8. The arrow: A certain man had three wives. The first wife went to see her parents and came back with an iron-tipped arrow as a present for her husband. Some days later the second wife went to see her parents. She came back with a well-carved bow as a present. The third wife went home to her parents and returned with a tough, flexible bowstring.
The husband fitted the bowstring to the bow, took the arrow, and went out into the forest to hunt. He saw an antelope, took aim carefully, and shot it through the heart. When he brought it home, his first wife said: “That animal is for me. Without my arrow you could never have shot it.”
The second wife said: “That animal is for me. Without my bow it would still be alive.”
The third wife said: “Without my bowstring the arrow could not have flown. The game belongs to me.”
Who is right?
9. Who may marry Etona: Three young men wooed Etona. When the first one arrived at her house, she gave his a chair to sit on. Nothing else. There he sat until it was time to go. Soon, the second suitor arrived. Etona cooked a meal for him, but he had to eat it standing up, for she gave him no chair on which to sit. When he had finished eating, it was time to go. Then the third young man arrived. By the time the sun had set, so Etona showed him to a bed where he could sleep. There he lay down, comfortable but alone and hungry.
Which of the three men will Etona marry?
10. Lomboto’s two sons: A man called Lomboto, the mayor of a village, married a woman called Bolumbu. They had no children. So after several years, Lomboto married a second wife called Mbongela.
Within a year, Mbongela gave birth to a son whom they called Ilondo. A year later Bolumbu also had a son, whom they called Inongo. They boys grew up and became men.
Their father grew old and finally died. After the funeral, the people came to Ilondo to pay him homage as the next chief. Inongo argued that he was the son of the senior wife, and therefore he should succeed his father.
Who is right?
11. To cross a river: Our final puzzle is a dilemma that reminds us that the Nkundo do live in a world dominated not only by the forest and its animals but by a great river, the Congo.
A man wished to cross a river by boat. He brought a cabbage and a goat for his wife. He also had a leopard that he caught sleeping. Now the boat was so small that he could not take more than one thing on board for the crossing. If he takes the cabbage first and leaves the two animals behind, the leopard will eat the goat. If he takes the leopard first, the goat will eat the cabbage. How will he cross the river?
Retold By: Jan Knappert
1. Deaf and Blind: Two men lived together in a house. One deaf, the other was blind. Over the years they learned to communicate with each other. One night Blind woke is companion. He had heard war drum and knew it was time they fled into the forest. Led by deaf, who knew his way, they escaped the onslaught of a terrible enemy.
In the forest, Blind heard coughing. So he signaled to his companion Deaf. “Go and find the woman that I hear coughing, not far in that direction,” he directed, pointing to where he had heard the cough.
So deaf found the woman. After he brought her back, both men decided that they wanted to marry he woman. Deaf argued; “If I had not been able to find my way anywhere in the forest, we would have been lost and never found this woman. I may marry her.”
Is he right?
2. Doctor, driver, and messenger: A man had a daughter who was gravely ill. Indeed, she was dying. He said: “The one who saves her may marry her.”
A messenger went to the doctor. He ran all night, for the doctor lived far away, and told the doctor about the dying girl. A driver was found who could drive the doctor in his car to the patient. They arrived just in time. The doctor applied his medicine, and the girl was saved from the jaws of death.
She was a very beautiful woman. Each of the three men- the doctor, the driver, and the messenger- wanted to marry her. Each claimed that without his
3. Ifambe and his wives: Ifambe had two wives. The first wife hoed a plot of land and planted sugarcane, which grew abundantly. The second wife also wanted her own garden. She cut down the undergrowth not far from their villages. She then asked their husband to do the heavy cutting for her.
So, one morning he took his ax and went to her plot to chop down the big trees. Now this young wife brought his neither food nor even a pot of beer for his lunch. So, after working for several hours in the hot sun, he decided to go and cut some sugarcane on the plantation of his first wife. As he was approaching the canes, he surprised a poor man who was stealing some of the crop.
The owner raised his machete, ready to kill the intruder. “Don not kill me! I will be your slave!” cried the thief.
So Ifambe took him prisoner and brought him home. But Ifambe’s first wife claimed the man as her property, saying: “He must be my slave. He was found on my land and stealing my crops. Ifambe went to eat my sugarcane because no one brought him food and that is how he came
“Not so,” said the second wife. “Ifambe was working for me at the time. He would not have been there at all if I had not asked him to do that job for me. So the slave belongs to me.”
So Ifambe brought the matter before the council of elders. Who do you think wins the case?
4. The ring: A man had three servants. He also had a ring of great value. One day the man was deceived by his wife; she made him drunk and ran away with the ring to her own village. The first servant, Rat, followed her and bit her finger. He got the ring of, swallowed it, and ran away. But Rat was killed on the way home.
The second servant, Hawk, went in search of Rat and found him. He carried Rat’s body as far as the river, but, as he was making his crossing, the river’s strong current carried Rat’s corpse downstream. There it was eaten by fish.
Many days later the third servant, went to fish in the river. He caught a fish, brought it home, and cut it open to prepare it for cooking. There in the stomach of the fish, was his master’s ring!
Of course the ring’s was very happy. They all lived on for many years until eventually the owner died. He had no children, so his servants were to inherit from him. Hawk and Cat disputed with each other over the possession of the ring, each claiming that without his efforts the ring would have been lost. Who should win?
5. The disputed pig: There was once a man who had three wives. One day he went out into the forest to hint. He speared a wild boar, but it did not die immediately. Instead it charged and wounded him. Both hunter and hunted lay dying.
At that same time- it was during the heat of the day- the first wife had a dream. In it, she saw her husband lying dead. She woke up and told her two co wives to come and find their husband, great misfortune must have happened.
The second wife was an expert at trail finding. She could detect from the minutest of traces- a broken twig, a crumpled leaf- if man or beast had passed through the forest. She led her co wives straight to the spot where their husband lay dying from the wounds caused by the boar’s tusks.
Now the third wife was an expert at medicines. She bandaged his wounds and rubbed the powder of life into his nose. He sneezed, woke up, and felt himself healthy again. He immediately finished off the boar.
The three wives disputed with each other the right to the boar’s meat. Each wife claimed that, without her help, their husband would now be dead. Which wife has the greatest claim?
6. The three wives: A certain man had three wives. Together, they went into the forest to pick fruits. They found a tree, and the man climbed into it. Alas! A branch snapped and he fell, breaking an arm. There he lay, as if dead. One wife said: “Now that he is dead I must go back to our village and look after our children.”
The second wife said: “I don’t want to live without our husband. I am going to drown myself in the river.” Away she went, mad with grief.
The third wife said: “I don’t want to go anywhere. I will stay with our husband until I die.”
On her way to the river the second wife met a merchant who said: “What’s the matter, why are you crying?”
She told what had happened. He said: “I am a doctor. I will cure your husband. But I will have one of you as my wife.”
He went with her and treated the husband. When the latter was cured, the doctor demanded one of his wives. Which of his three wives should the man give to the doctor?
7. Njela the murderer: Njela was employed by a man had a very beautiful daughter. Njela fell in love with her, but she refused him. He was furious and killed her. He then fled to his mother and asked one of his friends what to do. The friend said: “Behave like a madman.”
So Njela went back to his employer, but instead of working he giggled, cried, and rolled in the mud. His employer said: “This man does not know what he is doing.”
So, instead of accusing Njela of murder, the employer sent him to a doctor. The doctor “cured” Njela, and the murderer went back to his mother’s house. Then his friend paid a call. “If it had not been for me,” said the friend, “you would now be in prison therefore, pay me for my useful advice.”
“No,” said Njela. “I helped myself. If I had not killed someone, you would not have had that wisdom. You spoke only a few words. I rescued myself.”
Who is right?
8. The arrow: A certain man had three wives. The first wife went to see her parents and came back with an iron-tipped arrow as a present for her husband. Some days later the second wife went to see her parents. She came back with a well-carved bow as a present. The third wife went home to her parents and returned with a tough, flexible bowstring.
The husband fitted the bowstring to the bow, took the arrow, and went out into the forest to hunt. He saw an antelope, took aim carefully, and shot it through the heart. When he brought it home, his first wife said: “That animal is for me. Without my arrow you could never have shot it.”
The second wife said: “That animal is for me. Without my bow it would still be alive.”
The third wife said: “Without my bowstring the arrow could not have flown. The game belongs to me.”
Who is right?
9. Who may marry Etona: Three young men wooed Etona. When the first one arrived at her house, she gave his a chair to sit on. Nothing else. There he sat until it was time to go. Soon, the second suitor arrived. Etona cooked a meal for him, but he had to eat it standing up, for she gave him no chair on which to sit. When he had finished eating, it was time to go. Then the third young man arrived. By the time the sun had set, so Etona showed him to a bed where he could sleep. There he lay down, comfortable but alone and hungry.
Which of the three men will Etona marry?
10. Lomboto’s two sons: A man called Lomboto, the mayor of a village, married a woman called Bolumbu. They had no children. So after several years, Lomboto married a second wife called Mbongela.
Within a year, Mbongela gave birth to a son whom they called Ilondo. A year later Bolumbu also had a son, whom they called Inongo. They boys grew up and became men.
Their father grew old and finally died. After the funeral, the people came to Ilondo to pay him homage as the next chief. Inongo argued that he was the son of the senior wife, and therefore he should succeed his father.
Who is right?
11. To cross a river: Our final puzzle is a dilemma that reminds us that the Nkundo do live in a world dominated not only by the forest and its animals but by a great river, the Congo.
A man wished to cross a river by boat. He brought a cabbage and a goat for his wife. He also had a leopard that he caught sleeping. Now the boat was so small that he could not take more than one thing on board for the crossing. If he takes the cabbage first and leaves the two animals behind, the leopard will eat the goat. If he takes the leopard first, the goat will eat the cabbage. How will he cross the river?
Tuesday, February 9, 2010
Kenay Vocab Day 3 and 4
Kenya Vocabulary
Day 3
New Words:
vehemence tremulous obstinate enigmatic beseech
Walking in Waiyaki’s Shoes
What could be worse than bearing the burden of being named the savior of your people? How about being unsure whether you’re the savior or not?! Poor Waiyaki. It seems far, far worse to have an enigmatic prophecy than a clear one. Wouldn’t you have beseeched Chege to tell you whether the prophecy was referring to you or not? If Chege had obstinately refused, you could have stubbornly kept asking until he finally broke down and told you. If the prophecy had indeed meant you, you would have the backing of the all your people. You’d have the courage to speak out with vehemence in support of your ideas. In your powerful presence, the voices of your enemies would become tremulous and weak. And, even if the prophecy had meant someone else, you would gain courage and strength from the hope that another savior would soon come. As Pascal once said, “Clarity of the mind means clarity of passion, too.”
Sample sentences: Try your hand now at using your new words by writing them in their correct form (change endings if necessary) in these sentences:
1. With a ____________________ voice, Makesha timidly told her son that she felt worried about him.
2. She drove off and I was left there, dumbfounded. I knew that one day I’d grasp how I’d grown from going through all this, but in the moment, the lessons were completely __________ to me.
3. “Please, please, please can we keep him???” Derek and Josie ____________ their parents imploringly. “We promise we’ll take good care of him and take him on walks every day!”
4. The preacher spoke passionately and with great __________________ about what would happen to the members of his congregation if they indulged in sinful behavior at the dance that weekend.
5. My sister can be so ____________________ against being told what to do that, rather than simply cleaning her room when my parents ask her to, she will choose to complain about the smell and how she can’t find anything!
Definitions: Match the new words with their dictionary meanings.
6. vehemence ___ a. stubborn: tenaciously unwilling or marked by tenacious
unwillingness to yield
7. tremulous ___ b. not clear to the understanding
8. obstinate ___ c. intensity or forcefulness of expression
9. enigmatic ___ d. to ask for or request earnestly
10.beseech ___ e. quavering: (of the voice) quivering as from weakness or fear
Today’s Homophones - Please write two sentences for each homophone using the word correctly.
Sight – an instance of visual perception
Cite – mention, make reference to, quote or refer to
Site – the piece of land on which something is located
Kenya Vocabulary
Day 4
New Words:
beset augur renounce depose alienate
Nayambura
She knew it was a bad omen at the time, but how could Nayambura have known that Muthoni dropping her water barrel would augur such horrible consequences for her sister, heartbreak for her family, trouble between the ridges, and conflict among her people? If you were in her shoes what would you do? Would you choose to stand by your father and your religion or would you renounce them and return to traditional customs? Both paths seem heavily beset with tough choices and very real dangers. If you remain Christian and the Gikuyu people attempt to depose the missionaries, who now have the most power in the region, you will mostly likely become a target of attack. If you choose tradition, you will alienate yourself from the only family you have left and will have to face the initiation ceremony that was directly involved in your sister’s death.
Sample sentences: Try your hand now at using your new words by writing them in their correct form (change endings if necessary) in these sentences:
1. My brother is continually __________________ romance, but it never lasts. It seems like as just as soon as he’s finished saying, “I want to die old and alone!” he has a crush on someone new.
2. The road was __________________ with trouble; it seemed at every turn we encountered a new obstacle.
3. In the movie Mean Girls, Cady Heron, a new girl in school, uses all sorts of mean tactics to try to ¬¬¬¬¬¬¬¬¬¬¬¬____________ Regina George, the reigning "popular girl" and leader of “The Plastics.”
4. The woman looked down at the tarot cards on the table and sighed ominously. “This card,” she finally said, pointing to one depicting a stormy sea, “______________________ troubled times ahead. “
5. Some people say that the reason Van Gogh only sold one painting during his lifetime was because his rude behavior _____________________ so many possible friends and customers.
Definitions: Match the new words with their dictionary meanings.
6. beset ___ a. to serve as an omen of; foretell
7. augur ___ b. to remove from office or power
8. renounce ___ c. to cause to become unfriendly or hostile; estrange
9. depose ___ d. to reject; disown
10. alienate ___ e. to attack from all sides; to trouble persistently; harass
Today’s Homophone - Please write two sentences for each homophone using the word correctly.
Aloud – using the voice
Allowed – permitted
Day 3
New Words:
vehemence tremulous obstinate enigmatic beseech
Walking in Waiyaki’s Shoes
What could be worse than bearing the burden of being named the savior of your people? How about being unsure whether you’re the savior or not?! Poor Waiyaki. It seems far, far worse to have an enigmatic prophecy than a clear one. Wouldn’t you have beseeched Chege to tell you whether the prophecy was referring to you or not? If Chege had obstinately refused, you could have stubbornly kept asking until he finally broke down and told you. If the prophecy had indeed meant you, you would have the backing of the all your people. You’d have the courage to speak out with vehemence in support of your ideas. In your powerful presence, the voices of your enemies would become tremulous and weak. And, even if the prophecy had meant someone else, you would gain courage and strength from the hope that another savior would soon come. As Pascal once said, “Clarity of the mind means clarity of passion, too.”
Sample sentences: Try your hand now at using your new words by writing them in their correct form (change endings if necessary) in these sentences:
1. With a ____________________ voice, Makesha timidly told her son that she felt worried about him.
2. She drove off and I was left there, dumbfounded. I knew that one day I’d grasp how I’d grown from going through all this, but in the moment, the lessons were completely __________ to me.
3. “Please, please, please can we keep him???” Derek and Josie ____________ their parents imploringly. “We promise we’ll take good care of him and take him on walks every day!”
4. The preacher spoke passionately and with great __________________ about what would happen to the members of his congregation if they indulged in sinful behavior at the dance that weekend.
5. My sister can be so ____________________ against being told what to do that, rather than simply cleaning her room when my parents ask her to, she will choose to complain about the smell and how she can’t find anything!
Definitions: Match the new words with their dictionary meanings.
6. vehemence ___ a. stubborn: tenaciously unwilling or marked by tenacious
unwillingness to yield
7. tremulous ___ b. not clear to the understanding
8. obstinate ___ c. intensity or forcefulness of expression
9. enigmatic ___ d. to ask for or request earnestly
10.beseech ___ e. quavering: (of the voice) quivering as from weakness or fear
Today’s Homophones - Please write two sentences for each homophone using the word correctly.
Sight – an instance of visual perception
Cite – mention, make reference to, quote or refer to
Site – the piece of land on which something is located
Kenya Vocabulary
Day 4
New Words:
beset augur renounce depose alienate
Nayambura
She knew it was a bad omen at the time, but how could Nayambura have known that Muthoni dropping her water barrel would augur such horrible consequences for her sister, heartbreak for her family, trouble between the ridges, and conflict among her people? If you were in her shoes what would you do? Would you choose to stand by your father and your religion or would you renounce them and return to traditional customs? Both paths seem heavily beset with tough choices and very real dangers. If you remain Christian and the Gikuyu people attempt to depose the missionaries, who now have the most power in the region, you will mostly likely become a target of attack. If you choose tradition, you will alienate yourself from the only family you have left and will have to face the initiation ceremony that was directly involved in your sister’s death.
Sample sentences: Try your hand now at using your new words by writing them in their correct form (change endings if necessary) in these sentences:
1. My brother is continually __________________ romance, but it never lasts. It seems like as just as soon as he’s finished saying, “I want to die old and alone!” he has a crush on someone new.
2. The road was __________________ with trouble; it seemed at every turn we encountered a new obstacle.
3. In the movie Mean Girls, Cady Heron, a new girl in school, uses all sorts of mean tactics to try to ¬¬¬¬¬¬¬¬¬¬¬¬____________ Regina George, the reigning "popular girl" and leader of “The Plastics.”
4. The woman looked down at the tarot cards on the table and sighed ominously. “This card,” she finally said, pointing to one depicting a stormy sea, “______________________ troubled times ahead. “
5. Some people say that the reason Van Gogh only sold one painting during his lifetime was because his rude behavior _____________________ so many possible friends and customers.
Definitions: Match the new words with their dictionary meanings.
6. beset ___ a. to serve as an omen of; foretell
7. augur ___ b. to remove from office or power
8. renounce ___ c. to cause to become unfriendly or hostile; estrange
9. depose ___ d. to reject; disown
10. alienate ___ e. to attack from all sides; to trouble persistently; harass
Today’s Homophone - Please write two sentences for each homophone using the word correctly.
Aloud – using the voice
Allowed – permitted
Nyambura Character Sheet
Name:________________________
Invitation:
You are invited to a costume tea party next class. We will provide tea and finger food, but you will be the life of the party. Sharpen you acting skills, find a fitting costume if you like, but you must transform into a character from The River Between.
Specific Instructions
1. Know your info
You are to become the character described below. Please know the information about yourself- get into character enough- so that you can mingle with the other characters and share the valuable information. Note: your classmates are depending on you, and only you, for information about this character. You will not be able to read/refer to the information once the party begins.
Nyambura
I am the daughter of Joshua. I am quiet and have long dark hair. I want to please my father and believe like he does, but his beliefs are like the white man’s and do not leave room for our tribal traditions. I am close to my younger sister, but I am afraid for her. She is strong-willed and wants things that our father would not approve. Even though my father hates Waiyaki, I am in love with him.
2. Name tag
Please make a name tag that you will wear during the party and turn in afterward. The tag must include your character’s name written clearly and must have a symbol or drawing that represents the character. Bonus points will be awarded if the tag is exceptionally well done.
3. Brief Prediction
As your character, answer the following question on the back of your name tag in a sentence or two-MAX!
Q: Your sister is thinking about running away from home because of your strict father. How will he advise her?
Invitation:
You are invited to a costume tea party next class. We will provide tea and finger food, but you will be the life of the party. Sharpen you acting skills, find a fitting costume if you like, but you must transform into a character from The River Between.
Specific Instructions
1. Know your info
You are to become the character described below. Please know the information about yourself- get into character enough- so that you can mingle with the other characters and share the valuable information. Note: your classmates are depending on you, and only you, for information about this character. You will not be able to read/refer to the information once the party begins.
Nyambura
I am the daughter of Joshua. I am quiet and have long dark hair. I want to please my father and believe like he does, but his beliefs are like the white man’s and do not leave room for our tribal traditions. I am close to my younger sister, but I am afraid for her. She is strong-willed and wants things that our father would not approve. Even though my father hates Waiyaki, I am in love with him.
2. Name tag
Please make a name tag that you will wear during the party and turn in afterward. The tag must include your character’s name written clearly and must have a symbol or drawing that represents the character. Bonus points will be awarded if the tag is exceptionally well done.
3. Brief Prediction
As your character, answer the following question on the back of your name tag in a sentence or two-MAX!
Q: Your sister is thinking about running away from home because of your strict father. How will he advise her?
Muthoni Character Sheet
Name:________________________
Invitation:
You are invited to a costume tea party next class. We will provide tea and finger food, but you will be the life of the party. Sharpen you acting skills, find a fitting costume if you like, but you must transform into a character from The River Between.
Specific Instructions
1. Know your info
You are to become the character described below. Please know the information about yourself- get into character enough- so that you can mingle with the other characters and share the valuable information. Note: your classmates are depending on you, and only you, for information about this character. You will not be able to read/refer to the information once the party begins.
Muthoni
I am Joshua’s daughter and the younger sister of Nyambura. I want to be a woman…. a real woman in the ways of our tribe. I have embraced the white man’s faith, but I believe in tribal customs. The white man’s God does not quite satisfy what I believe about the world. I am torn between tradition and Christianity.
2. Name tag
Please make a name tag that you will wear during the party and turn in afterward. The tag must include your character’s name written clearly and must have a symbol or drawing that represents the character. Bonus points will be awarded if the tag is exceptionally well done.
3. Brief Prediction
As your character, answer the following question on the back of your name tag in a sentence or two-MAX!
Q: How might you make peace with your desires to embrace both Tribal tradition and Chrisitanity?
Invitation:
You are invited to a costume tea party next class. We will provide tea and finger food, but you will be the life of the party. Sharpen you acting skills, find a fitting costume if you like, but you must transform into a character from The River Between.
Specific Instructions
1. Know your info
You are to become the character described below. Please know the information about yourself- get into character enough- so that you can mingle with the other characters and share the valuable information. Note: your classmates are depending on you, and only you, for information about this character. You will not be able to read/refer to the information once the party begins.
Muthoni
I am Joshua’s daughter and the younger sister of Nyambura. I want to be a woman…. a real woman in the ways of our tribe. I have embraced the white man’s faith, but I believe in tribal customs. The white man’s God does not quite satisfy what I believe about the world. I am torn between tradition and Christianity.
2. Name tag
Please make a name tag that you will wear during the party and turn in afterward. The tag must include your character’s name written clearly and must have a symbol or drawing that represents the character. Bonus points will be awarded if the tag is exceptionally well done.
3. Brief Prediction
As your character, answer the following question on the back of your name tag in a sentence or two-MAX!
Q: How might you make peace with your desires to embrace both Tribal tradition and Chrisitanity?
Miriamu Character Sheet
Name:________________________
Invitation:
You are invited to a costume tea party next class. We will provide tea and finger food, but you will be the life of the party. Sharpen you acting skills, find a fitting costume if you like, but you must transform into a character from The River Between.
Specific Instructions
1. Know your info
You are to become the character described below. Please know the information about yourself- get into character enough- so that you can mingle with the other characters and share the valuable information. Note: your classmates are depending on you, and only you, for information about this character. You will not be able to read/refer to the information once the party begins.
Miriamu
I am a peace-loving person. I am trying to be a good obedient Christian wife to Joshua, but he asks me to reject my daughter because he thinks she is following Satan. My heart is breaking. Inside of me, the true Gikuyu woman is sleeping.
2. Name tag
Please make a name tag that you will wear during the party and turn in afterward. The tag must include your character’s name written clearly and must have a symbol or drawing that represents the character. Bonus points will be awarded if the tag is exceptionally well done.
3. Brief Prediction
As your character, answer the following question on the back of your name tag in a sentence or two-MAX!
Q: Will you find the courage to stand up to your husband?
Invitation:
You are invited to a costume tea party next class. We will provide tea and finger food, but you will be the life of the party. Sharpen you acting skills, find a fitting costume if you like, but you must transform into a character from The River Between.
Specific Instructions
1. Know your info
You are to become the character described below. Please know the information about yourself- get into character enough- so that you can mingle with the other characters and share the valuable information. Note: your classmates are depending on you, and only you, for information about this character. You will not be able to read/refer to the information once the party begins.
Miriamu
I am a peace-loving person. I am trying to be a good obedient Christian wife to Joshua, but he asks me to reject my daughter because he thinks she is following Satan. My heart is breaking. Inside of me, the true Gikuyu woman is sleeping.
2. Name tag
Please make a name tag that you will wear during the party and turn in afterward. The tag must include your character’s name written clearly and must have a symbol or drawing that represents the character. Bonus points will be awarded if the tag is exceptionally well done.
3. Brief Prediction
As your character, answer the following question on the back of your name tag in a sentence or two-MAX!
Q: Will you find the courage to stand up to your husband?
Livingstone Character Sheet
Name:________________________
Invitation:
You are invited to a costume tea party next class. We will provide tea and finger food, but you will be the life of the party. Sharpen you acting skills, find a fitting costume if you like, but you must transform into a character from The River Between.
Specific Instructions
1. Know your info
You are to become the character described below. Please know the information about yourself- get into character enough- so that you can mingle with the other characters and share the valuable information. Note: your classmates are depending on you, and only you, for information about this character. You will not be able to read/refer to the information once the party begins.
Livingstone
I am a white man. I am a missionary. I have brought the word of God to Joshua’s village. I was disgusted by their suggestive dances and traditional rituals. They needed to see the light that Jesus offers them. Joshua now continues to spread the word….he continues my work. I occasionally visit the hills to give new life and energy to my followers.
2. Name tag
Please make a name tag that you will wear during the party and turn in afterward. The tag must include your character’s name written clearly and must have a symbol or drawing that represents the character. Bonus points will be awarded if the tag is exceptionally well done.
3. Brief Prediction
As your character, answer the following question on the back of your name tag in a sentence or two-MAX!
Q: You have been invited to a tribal ceremony, would you accept the ceremony?
Invitation:
You are invited to a costume tea party next class. We will provide tea and finger food, but you will be the life of the party. Sharpen you acting skills, find a fitting costume if you like, but you must transform into a character from The River Between.
Specific Instructions
1. Know your info
You are to become the character described below. Please know the information about yourself- get into character enough- so that you can mingle with the other characters and share the valuable information. Note: your classmates are depending on you, and only you, for information about this character. You will not be able to read/refer to the information once the party begins.
Livingstone
I am a white man. I am a missionary. I have brought the word of God to Joshua’s village. I was disgusted by their suggestive dances and traditional rituals. They needed to see the light that Jesus offers them. Joshua now continues to spread the word….he continues my work. I occasionally visit the hills to give new life and energy to my followers.
2. Name tag
Please make a name tag that you will wear during the party and turn in afterward. The tag must include your character’s name written clearly and must have a symbol or drawing that represents the character. Bonus points will be awarded if the tag is exceptionally well done.
3. Brief Prediction
As your character, answer the following question on the back of your name tag in a sentence or two-MAX!
Q: You have been invited to a tribal ceremony, would you accept the ceremony?
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