Tag Archives: readings/research

Cultural Literacy: Burundi

Here is a Cultural Literacy worksheet on the Central African nation of Burundi. This is another African nation that fell victim to the depredations of colonialism, in its case Germany and then Belgium. Like its neighbor, Rwanda, Burundi’s principal ethnic groups are the Hutus and the Tutsis; also, as in Rwanda, the Tutsis have attacked the Hutus and perpetrated a genocide–known as the Ikiza–against them. And, in 1993, one year before the genocide in Rwanda, there was civil conflict following an attempted coup in Burundi that resulted in the deaths of 25,000 Tutsis.

In other words, this worksheet, which is a full page and as such useful for independent practice, opens the door to an exploration of European colonialism and its legacy in colonized nations.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Weekly Text, February 19, 2020, Black History Month 2021 Week III: A Reading and Comprehension Worksheet on Robert Johnson

This week’s Text, in this blog’s ongoing observation of Black History Month 2021, is this reading on Robert Johnson with its accompanying vocabulary-building and comprehension worksheet.

If your students know anything about Robert Johnson, it is probably the legend that surrounds his acquisition of his breathtaking facility in playing the guitar: to wit, that he made a deal with the devil himself. In exchange for endowing Robert Johnson with preternatural ability in playing the guitar, the devil took ownership of Robert Johnson’s soul. This has been the stuff of popular culture for a long time, and I’ll cite Walter Hill’s 1986 film Crossroads–a title derived from one of Mr. Johnson’s best-known songs, made a rock-and-roll standard by the British trio Cream–as a conspicuous example. The number of guitarists Robert Johnson inspired is as impossible to overstate as the influence of his songs in American popular music over the years.

Put another way, this is probably very high-interest material for some students. If you want to consider the role of Papa Legba in Robert Johnson’s crossroads story, you and your student very likely have the makings of a synthetic research paper. There are, in the final analysis, West African cultural touchstones behind the story of Robert Johnson’s encounter with the devil at the crossroads.

Incidentally, the great music writer Robert Palmer, in his book Deep Blues, reported that Robert Johnson was given an “ice course.” i.e. a glass of poisoned whiskey, by a jealous husband in a rural juke joint. You probably won’t be surprised that there is a lot of speculation on this floating around on the Internet. As the headline to one of these articles rightly puts it, “The only solid fact about Robert Johnson is his music….” Which, in fact, is a pretty good place to start in writing about this towering figure in American culture.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Richard Allen

“Richard Allen: (1760-1831) U.S. religious leader. He was born to slave parents in Philadelphia, and his family was sold to a Delaware farmer. A Methodist convert at 17, he was licensed to preach five years later. By 1786 he had purchased his freedom and settled in Philadelphia, where he joined St. George’s Methodist Episcopal Church. Racial discrimination prompted him to withdraw in 1787, and he turned an old blacksmith shop into the first black church in the United States. Allen and his followers built the Bethel African Methodist Church, and in 1799 he was ordained as its minister. In 1816 he organized a conference of black leaders to form the African Methodist Episcopal Church, of which he was named the first bishop.”

Excerpted/Adapted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Cultural Literacy: Letter from Birmingham Jail

Here is a Cultural Literacy worksheet on Martin Luther King Jr.’s justly famous “Letter from Birmingham Jail.” This is a full-page document, so it is suitable for use as independent practice–or however you need to alter it for your students. This is a brief introduction to the letter and the gravamen of its argument. It should not, indeed cannot, be used as a substitute for the actual text of the Letter.

As you probably know, the “Letter from Birmingham Jail” remains one of the great pieces of English rhetoric, as well as an important philosophical statement. It is, in every sense, a world-historical document. It should be taught as such–as well as for its importance to the Civil Rights movement in the United States.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review

Nella Larsen

“Nella Larsen: (1891-1964) American novelist and short-story writer. Larsen’s reputation as one of the luminaries of the Harlem Renaissance rests upon her two published novels, Quicksand (1928) and Passing (1929). Both are studies of middle-class mulatto women and the politics of the color line. Here work is noted for its economy of expression and psychological depth. Although Larsen was the first African-American woman to win a Guggenheim fellowship (1930), her literary career declined shortly afterward due to professional and personal difficulties. Larsen died in obscurity after working as a nurse for more than twenty years in New York City.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Cultural Literacy: Black Muslims/Nation of Islam

Here is a Cultural Literacy worksheet on Black Muslims. The minute I saw the text that serves as the basis for this reading comprehension worksheet, let alone wrote the document, I was uneasy. In fact, I was and remain so uneasy about this worksheet that I rewrote it as a worksheet on the Nation of Islam.

Why was I uneasy? Well, first of all, thanks for asking! For starters, I think “Black Muslims” is an appellation contrived and articulated by White Americans in the 1960s to describe something they didn’t understand, and something, perhaps, that made them anxious. One thing I always tried to teach kids in my classes is that they possess a fundamental right, prerogative, indeed responsibility, to identify themselves–and not leave that important job to someone else. And I don’t know about you, but to my ear, the term “Black Muslims” coming out of the mouths of people who don’t identify as members of the Nation of Islam carries a note of derogation.

But it was an article of popular culture that supplied confirmation of my position on this worksheet–namely Regina King’s superlative new film  One Night in MiamiHave you seen it? It’s based on an actual night–February 25, 1964–when Malcolm X, Muhammad Ali, Jim Brown, and Sam Cooke met in a Miami hotel room. Based on the stage play by Kemp Powers, it is a powerful film of exceptionally strong dialogue (kudos to Mr. Powers for the strength of his exposition, which is among the best I have ever heard), stellar performances, and deft direction.

In any case, at one point in the film, as Malcolm X and Sam Cooke engage in a heated argument, Sam Cooke makes a sneering remark about “Black Muslims.” Malcolm X quickly retorts, “The Nation of Islam to you.”

And that, in the final analysis, is why this post contains two documents as well as a healthy dose of skepticism about the phrase “Black Muslims.”

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Cultural Literacy: Haiti

Here is a Cultural Literacy worksheet on Haiti. This is a full-page worksheet, so it is suitable, I think, for a number of uses besides the rather limited do-now scope of the shorter, half-page Cultural Literacy worksheets posted on this blog.

Have you, by any chance, read C.L.R. James’s well-regarded history of the Haitian Revolution, The Black Jacobins? I just started it yesterday, and it is all it is reputed to be: classic, at once passionate and analytical, infused with a rich contempt for tyranny, and and endowed with a welcome and edifying scholarly apparatus. I should also mention that Mr. James wrote with verve, and used his gifts as a prose stylist to produce fiction and drama as well.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Weekly Text, February 12, 2020, Black History Month 2021 Week II: A Reading and Comprehension Worksheet on Hank Aaron

This week’s Text, in this blog’s ongoing observation of Black History Month 2021,  is a reading on Hank Aaron and its accompanying vocabulary-building and comprehension worksheet.

This is one of the very first of these document sets I prepared, and it includes a short numeracy exercise on Mr. Aaron’s statistics. As you surely know, we lost Mr. Aaron on January 22 of this year, just a couple of weeks shy of his eighty-seventy birthday. I don’t know about you, but I can’t remember a time in my life when Hank Aaron wasn’t someone I thought about on a regular basis.

If you or your students are interested in Mr. Aaron, stay tuned; I plan to exhaust my storehouse of material on him before Black History Month 2021 is over.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Art Ensemble of Chicago

“Art Ensemble of Chicago: U.S. jazz ensemble, innovators in free jazz. The group evolved from the Association for the Advancement of Creative Musicians (AACM), an experimental collective. Saxophonists Roscoe Mitchell and Joseph Jarman, trumpeter Lester Bowie, bassist Malachi Favors, and drummer Don Moye formed the group in 1969, combining freely changing tempos, dynamics, and textures with an often comic theatricality of presentation. Their diversity of inspiration is expressed by their motto, ‘Great Black Music—Ancient to Modern.’”

Excerpted/Adapted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Cultural Literacy: Jazz

Here is a Cultural Literacy worksheet on Jazz. This is a full-page worksheet, so it is suitable for independent practice.

Jazz is principal genre of music played at Mark’s Text Terminal; in fact, as I type this, Kenny Dorham is playing “Blue Friday” from his fine 1959 recording Quiet Kenny. It’s a quartet set with Mr. Dorham backed by a rhythm section including pianist Tommy Flanagan, bassist Paul Chambers, and drummer Art Taylor

When I listened to jazz for the first time in high school (let the record reflect it was the original Impulse long-play vinyl record of John Coltrane Live at the Village Vanguard, side two, the almost 17-minute-long version of “Chasin’ the Trane”) , and I mean really listened, rather than simply heard, I knew I would be an aficionado of the music for the rest of my life. 

Over the years, the word Jazz (especially spelled out with a lower-case j) began to trouble me. Aside from its slangy sound and therefore connotation, it seemed like a miserly word to describe such original, variegated, and stately music. So, a few years back, when I heard an interview the great trumpeter (see him live if you can!) Nicholas Payton in which he said he takes issue with the word Jazz, I was relieved to hear him say it. He prefers the term “Black American Music,” which sounds good to me. If you’re interested in learning more of Mr. Payton’s thoughts about Jazz, you might want to take a look at this 2011 post from his blog.

Clint Eastwood has often said that Jazz and Blues are the perhaps “the only original art forms that we have” in the United States. It’s hard to disagree with that, and it’s hard not to at least consider the fact that Jazz especially has been ignored in the United States for two simple reasons: racism and a lack of good taste, tendencies that far too many Americans express proudly. Jazz is our classical music, and maybe for that reason alone it is time to find a new name for this complex, vibrant, uniquely American music.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.