Language Arts Overview for English 12: African Heritage English 12: African Heritage is based on the framework provided by the Atlantic Canada essential graduation learnings and Foundation for the Atlantic Canada English Language Arts Curriculum. This curriculum is shaped by the vision of enabling and encouraging students to become reflective, articulate, and literate individuals who use language successfully for learning and communicating in personal and public contexts. English 12: African Heritage focuses on African heritage, and encourages the use of diverse resources from all cultures and races. It involves language processes: speaking, listening, reading, viewing, writing and other ways of representing. English 12: African Heritage focuses on writers and artists of African descent and their contributions. The writers, artists and their works, the history and culture depicted in and reflected by their works, and the ideas and values can all contribute to the intellectual growth of our students. This course encompasses the experience, study, and appreciation of language, literature, media, and communication from an African heritage perspective. English 12: African Heritage has been developed with the intent of responding to continually evolving education needs of students and society; providing greater opportunities for all students to become literate; preparing students for the literacy challenges they will face throughout their lives. This course will help students to understand and appreciate African heritage as being the heritage of us all. English 12: African Heritage may follow a linear timeline, or a teacher may choose to study different texts from a thematic approach. It is critical that the students be made aware of the historical context of the texts so that they may develop a greater understanding of the role of history in the development in these works. This overview will demonstrate how the course can follow this historical timeline: Pre-colonial Africa, Slavery, Reconstruction, Renaissance, and then enter into contemporary themes which connect the present to the past. Some of these themes include: social and political change, the women s movement, visual and performing arts, and many aspects of the lives of African Nova Scotians and African Canadians. If a teacher chooses to follow a linear model, then the course should begin with an examination of pre-colonial Africa and a study of Chinua Achebe s novel Things Fall Apart. Achebe's novel offers an example of a community in Nigeria that demonstrates the sophistication of pre-colonial Africa. This will help students to develop a sense of the origins of African heritage literature. They may explore the diversity of Africa by examining oral traditions from different regions. This exploration invites some historical discussion to expose the richness of pre-colonial African cultures. Students are provided with an opportunity to challenge some of the stereotypes that exist about Africa. They learn that Africa is a continent with a rich history and clear social, political, spiritual, and legal systems. This, in turn, will help students explore those elements of African culture and history that connect people of African descent today. This approach will enable students to become more aware of how these texts can be studied as a body of work that has influenced important elements of all cultures and histories.
2 By looking at the wealth of stories, proverbs, and historical accounts preserved in the oral traditions of Africa, students can uncover the rich beginnings, and see the origin of some of the patterns, styles, and themes that are found throughout the history of African heritage literature. Students will examine the importance of storytelling in the teaching of history, morals, beliefs, values, and culture. Also, students can explore poetry, short stories, and other works by modern African writers who explore the past eras in their work. It is important that the concept of Afrocentricity be introduced in the early stages of the course. Afrocentric, Africentric, or African Centered are interchangeable terms representing the concept which categorizes a quality of thought and practice, which is rooted in the cultural image and interest of African people and which represents and reflects the life experiences, history and traditions of African people as the center of analyses. (Wade.W. Nobles). African Centered study looks at any information involving African people and raises questions that allows Africans to be subjects of historical experiences rather than objects on the fringes of another's experience. (Molefi Asante) http://www.afrocentric.info/africancentered/definitions.html) It is a cultural and political movement. The terms Afrocentrism, Afrocology, and Afrocentricity were coined in the 1980s by the African American scholar and activist Molefi Asante. For this course, the term Afrocentric will be used. Students will learn about the African world view, and, with this concept in mind, examine the Afrocentric concept within the oral traditions, and later in the works of contemporary African writers and writers of African descent. Information and themes addressed in this period include: Afrocentrism, geographic and cultural diversity, the role of the family and the village (the importance of participation and sharing), relationships of men and women, early forms of African spirituality and religion, as well as the influence of Islam and Arab culture, African slavery, folklore and proverbs - information, morals, and explaining the origins of things, self-pride and the importance of names, animal imagery, female expression. If the teacher is following a linear perspective, then slavery and the texts that arose from this time period would be addressed, i.e. slave narratives. Some slave narratives may offer some insight into precolonial times. Texts about slavery examine the slave trade, focusing largely on the capture, detainment, and transportation of Africans from their homeland to Europe and the Americas. It is important for students to understand that this time period, known as the Middle Passage, symbolizes the brutality of the slave trade. Analyzing the beginning of slavery and the resistance of those enslaved will dispel the myth that African hostages accepted slavery passively. The texts from this time period provides the foundation for many of the concepts which will be studied throughout this course. Essential to this section is the
3 exploration of historical documents pertaining to slave ships and the transference of people as human cargo. Exploration of primary documents (available at archives or online) will open another field of investigation that students can analyze and discuss. The next stage of the slave trade was the life in the Americas and other parts of the African Diaspora. (The African Diaspora refers to all of the places where people of African descent have migrated by force or by choice). This includes the Americas, the Caribbean, Europe and Asia. Teachers will find that many of the resources focus on the United States, especially the texts that come out of the slavery time frame. Slave narratives and poetry are an essential genre of literature dealing with plantation life. Spiritual representation is an important aspect of enduring oral traditions because many slaves could not read and write (laws were enacted to prohibit the teaching of those skills to slaves). Over time, many slaves used their creative and artistic abilities to create songs, spirituals, and folklore that preserved and celebrated their heritage. The fact that there is any evidence of African American literature written before 1865, when the Civil War ended, is remarkable. In many areas, it was against the law to educate a slave The African literary tradition that the slaves carried with them was an oral tradition. The customs, values, traditions, and history of a people were embodied in their oral literature. The earliest survivors of the African oral tradition were the work songs and field hollers that slaves called to each other as they worked in the fields. Another literary survivor was the folktale. (D.A. Worley, J. Jr. Perry, African American Literature: An Anthology of Non-fiction, Fiction, Poetry and Drama, Chicago, Illinois: National Textbook Company Publishing Group, 1995. p. xvii-xviii). With time, several slaves empowered themselves by learning formal Standard English and joined white abolitionists in their fight against slavery. The struggle against slavery inspired the work of many authors and historians. Frederick Douglass is recognized as one of the most important writers of the slavery period. However, authors such as Olaudah Equiano, Sojourner Truth, Bullwhip and others have written about their struggles and their efforts to abolish the oppressive system. Many of those writers became some of the most powerful speakers of the resistance movement. The resistance movement in Canada and Britain provide a contrast to the American Civil War, and the violent upheaval on many Caribbean islands. These stories survive in the oral traditions and historical documents. The next time frame to examine is the Reconstruction period. The promises, the hopes and the dreams that were created by the end of slavery had been dampened and dashed by the realities of a society, where those who had the privilege and power were not willing to change. The literature of the post-slavery period is full of discontent and resistance. The literature produced between 1865 and 1920 reflects the disappointments, fears, and frustrations produced by America's failure to fulfill its promises of the freedom and equality after the Civil War. (D. A. Worley; J. Jr. Perry, African American Literature: An Anthology of Non-
4 fiction, Fiction, Poetry and Drama, Chicago, Illinois: National Textbook Company Publishing Group, 1995. p. xix). Writings of Frederick Douglass and Paul Laurence Dunbar capture the ideas of this period. Globally, there are parallels in the struggle for freedom throughout the African Diaspora. Students can continue to develop their understanding of the importance of Black people working to enter mainstream society. Black people often encountered political, social, economic, and educational barriers. The emergence of hate groups and laws disenfranchised people of African descent. The texts of this period challenge students to consider the way Black people were positioned after slavery, and to question how the notion of "equality" applied to their lives. The debate of equality and equity was very strong at this time and continues today. The opportunity to encourage students to write critical, reflective pieces of non-fiction and fiction is very powerful. The next time frame to consider would be the work that arose out of the Harlem Renaissance period. James Weldon Johnson wrote: The most outstanding phase of the development of the Negro in the United States during the past decade has been the recent artistic and literary emergence of the individual creative artist; and New York has been, almost exclusively, the place where that emergence has taken place. (James Weldon Johnson, Black Manhattan, 1930, New York: Da Capo Press, Inc., 1991, p. 260) The year 1915 is usually seen as the starting point of the period known as the Harlem Renaissance in African American literature and art. It is the point, when after the death of Booker T. Washington, W.E.B. DuBois became the major spokesperson for African Americans. Major authors like Paul Lawrence Dunbar and Frederick Douglass were dead. The "Great Migration" of hundreds of thousands of Black people from the South to the North, in particular, to large cities in search of jobs and a better life, and the development of the urban Black communities had begun. This created enormous social change for America and caused a keen interest in African American culture, both inside and outside of Black society. White authors like Eugene O'Neill and William Faulkner gave serious (although at times flawed) treatment of Black characters, as the interest in African American culture grew. The gathering together of many artists in urban centers, like New York, created the social and literary milieu needed for intellectual growth. African American artists had attained enough freedom to be themselves, but had also experienced enough discrimination to know that assimilation was not possible or necessary. This realization led to a turn toward artistic self-assertion and, at times, even a rejection of "White" culture. In the latter part of this period, there was radical racial protest as the Depression brought about further limiting of economic and social development.
5 This new confidence created exciting new art which attracted many non-black artists to Harlem, the Mecca, to absorb some of the vitality of this art form en vogue during the night life. The blossoming of jazz, urban blues, new forms of visual art, and musicals contributed to, and flowed from, this vibrant new artistic culture. We younger Negro artists, who create now, intend to express our individual dark-skinned selves without fear or shame. If white people are pleased, we are glad. If they are not, it doesn't matter. We know we're beautiful. And ugly too. The tom-tom cries and the tom-tom laughs. If colored people are pleased, we are glad. If they are not, their displeasure doesn't matter either. We build our temples for tomorrow, strong as we know how, and we stand on top of the mountain, free within ourselves. (Deidre Mullane (ed.), Crossing the Dangerous Water: Three Hundred Years of African American Writings, New York: Anchor Books, 1993, pp. 506-507) When students become aware of the diversity of material from this period, they will sense the dawning of a new age, appreciate the blossoming of talented artists, and become aware that African heritage is now part of the broader culture. Canada has a different cultural history from that of the United States, and did not experience anything close to the Harlem Renaissance during this time period. Canada's Renaissance began in the late seventies and eighties with a proliferation of African Canadian writers, who through their writings, reflect their diversities of experiences, backgrounds, and genres. In the United States, Black literature is seen as a body of work, while in Canada it is viewed as individual works. The history of African heritage writings can be linked to the history of protest and social change. What has consistently interested most Black writers from all periods is the desire of Black people to assert themselves as active participants in the larger society. In African heritage, there is also a very marked consciousness of collectivity and community. This era allows the reader to hear the voices of a people who speak and act against racial injustice and celebrate their victories, survival, and resilience. Students should appreciate the development of ideas that are reflected in the texts and the debates, about the role they play in the process of social change historically. The teacher should ensure that students read a significant number of global texts including indigenous local writers, writers of West Indian descent, and writers from Africa. Students will see that as particular selections of genres and themes remain consistent, there are very new and distinct styles being developed. Racism continues to be a major issue, and students will find it interesting to watch how the responses to it have changed. The oral forms of text are now created by more activists, including comedians, rap artists, and actors who provide a voice to the struggle. "Negritude" or the development of "Black Pride", a major development of the fifties and the sixties traces its modern source to pre WWII writings. The Back to Africa Movement" inspired by Marcus Garvey, as well as, the "Négritude Movement" coined by Aimé Césaire (a poet and writer from the French speaking island of Martinique),
6 influenced much of the music and literature of this time. Both of these movements emphasize the shared cultural bond of people of African descent and the desire for these people to be empowered. The separatist movements, the Nation of Islam (Black Muslims), the Black Panther Party, and others also influenced the form and social content of the writers of the modern era. A rising Black Pride and public protest gave birth to a new outburst of literary creativity, that crested in the late sixties and seventies. These new attitudes infected the writings of many Black writers across North America and beyond, and students would do well to look at a variety of artists to see what is meant by Black consciousness and an African perspective. An important theme that should be discussed in African Heritage is the women's movement and its tremendous effect on writers of African descent. Black women, expressing dilemmas about their role in society, provide a critical commentary about their particular ideas, experiences, struggles, and victories. Women of African descent have been the strength and backbone of the Black family throughout the ages. They have sacrificed much, and have had to redefine their role and position in an ever changing society. Over time, Black women have demanded more power and respect within the family, community, workplace, church, and society. In much of the literature, the relationships of Black women to their families, partners, friends, children, and the broader community have been defined and evaluated. Within the wide range of writers studied in this genre, the diversity of viewpoints is explored, and the evaluation of voice is evident throughout the texts. It is important to consider the different perspectives of the authors through the characters they develop. Some themes such as beauty, racism, empowerment, family, construction of identity, relationships, and social justice should be critically analyzed. Throughout the ages, many women of African descent have been leaders and champions of social, political, economic, and spiritual change. Their insight and commitment to various causes have provided an excellent model for society today. Another topic, Visual and Performing Arts, provides an opportunity to look at some of the pioneers who helped to establish black cultural expression in the arts. There are many social and political factors that led to their development in areas such as poetry, drama, art, music, and performance. Visual and Performing Arts is an expression of self; one's inner thoughts and dreams; a continuum of childhood fantasies dressed up, so to speak, in adult clothes. It allows students to explore the dimension of visual and performing arts over time through dialect, characterization, humour, and cultures across the Diaspora. The scope is very broad, allowing for opportunities to examine such topics as dance, blues, hip hop, Harlem Renaissance art, Apollo Theatre, Spike Lee productions and so on. In addition to print resources, a number of resources such as film, video, internet, audio, art, music, and technology should be used. Artists are enabled by their form to express very personal and political points of view; meanwhile, reaching wider audiences than those within the Diaspora. For instance, singer Billie Holiday could mesmerize audiences of all races with her voice, yet some of her songs like "Strange Fruit" tackled such serious issues as lynching. Plays, music, dance, art work, film by people of African descent have always told their stories to wider audiences, and they may be studied in a continuum to reveal how times and issues facing
7 the community and the world have changed and too often stayed the same. These mediums allow people from all different backgrounds to experience the rhythm of the voice of the authors in a way that is very tactical and therefore, more real. Through the works of these artists, students will connect with the evolution of societies, community life, and immigrant experiences as they relate to the past and the present. Furthermore, this allows the students the power to imagine, act, and create, following the example of Ossie Davis (actor, 1917-2004), who lived what he believed. This was evident not only in his professional life but also in his personal life. His art is a form of power which has a tremendous impact, and can affect change. A special component of African Heritage is the study of a few African Nova Scotian authors. This helps the students to develop a greater consciousness of their Nova Scotian Heritage and gain the opportunity to see the familiar through different eyes. To hear of one's homeland from one who has a different identity and perspective can be challenging as well as illuminating. This then leads students to explore some of the African Canadian authors. Authors included in this category may be indigenous, immigrants, or the descendants of immigrants. It is designed to broaden students' awareness and to deepen their understanding of some of the themes, issues, and history being addressed by the authors. The English 12: African Heritage course has a clear connection to the history and literature from Africa, as well as, from the Diaspora. There is a plethora of material available to engage students and to provide them with opportunities to become critical readers, writers, and thinkers. This course enriches students and provides them with the opportunity to obtain the graduation requirement for English 12 Language Arts through the complex and amazing context of the African heritage.