Gerene L. Freeman
In accordance with the African oral tradition, the griot is the guardian of his tribe’s history. A station prohibited to females, this was a responsibility delegated exclusively to males . . . and then only the son of a griot. However, the role of the griot is significant since it is with him that we mark the beginning of African literary tradition as we know it. The tradition of recording one’s perspective of his political, social, economic and physical environment is still very much alive and vibrant.
The intent of this creative writing curriculum is multi-faceted. First, and most obviously, it is designed to hone the writing skills of inner city African, Latino and white high school juniors and seniors. As a creative writing instructor at the Cooperative High School for the Arts and Humanities, I am developing a writing component which encompasses some aspects of African history to meet needs expressed by students themselves. Additionally, this unit of study is structured to enhance the African students’ sense of self. It will provide them with an understanding of the evolution of African history on the continent and in the United States as well as influences/impacts on and from cultures abroad. Simultaneously, Latino and white students will be sensitized to the history of the African.
Students will sample and discuss the work of playwrights (past and present) of African descent in the United States in the motherland and abroad. This will be accomplished through reading assignments that will enable students to view the means by which African playwrights universally utilized their craft in order to fulfill their roles as “griots” (guardians of the tribe’s history). Students will thereby:
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-develop scripts to be submitted to the Yale Dramat competition and also the Drama and Video departments at the Cooperative High School of the Arts and Humanities to be considered for production;
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-gain an appreciation for the richness of their history and culture;
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-consider the responsibility the playwright has to present positive role models;
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-examine the impact of the playwrights’ place in society as individuals and how it influenced their work (i.e.: selection of subject matter, theme, characters, etc.);
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-come to grips with their obligation to the community as a playwright/griot.
The significance of studying African History, the oldest history on the face of the earth, cannot be stressed enough. The continent, culture and people of Africa have been invaded for an extended period of time on three occasions:
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1) in 332 BC. East Africa was penetrated by the Greeks;
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2) the Arabs invaded Eastern Africa in 640 AD.; lastly
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3) the 15th century marked the onset of European exploitation which continues to beset East, West and South Africa today.
The ramifications of the intervention and imposition of European culture on Africa brought about an all but virtually total omission of the history and contributions made by Africans to the benefit of civilization. The consequences of such a calculated omission has in turn resulted in Diaspora and generations of people of African descent ill-informed of their history. This has produced for them a grossly distorted view of their potential as individuals and as a race. This in itself is justification for focusing on African history as it occurred on the continent and in the West.
This curriculum will examine African history through the work of playwrights of African descent. Focus will be placed on the playwrights’ place in society as individuals and members of a particular race. The playwrights’ creative response to and observation of the times in which they lived, will provide students with a unique view of history and the Africans’ part in it. Additionally, this curriculum will enable students to view the means by which these playwrights utilized their craft in order to fulfill their roles as griots.
Discussion pertaining to the African playwrights’ dilemma to write for his peers or to be universal, as raised by Harold Cruse, in his book “The Crisis of the Negro Intellectual” will take place. Reading assignments and exercises will be developed which will touch upon the early works of selected playwrights from Africa, and the United States. Discussions and review of the function of the playwright/griot as:
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-spokesperson
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-observer
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-historian
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-designer of standards, values
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-and direction of society
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-conscience of society or group
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-reporter
are pivotal.
Equally pertinent are discussions about particularly significant time periods and the manner in which they were “recorded” by a specific playwright. For example, when examining the Harlem Renaissance it is imperative to examine the work of contemporary an African playwright from that era. This would allow students to gain a sense of the playwright’s observation of life in American during the 1920’s.
Reading assignments will be utilized to provide examples of writings of the period and as a springboard for the classroom exercises which will follow. The first reading assignment will be concerned with a work of indigenous+ African drama. It is not, however, a ‘play’ in the European sense of the word. Instead, it will be a section from “Indaba, My Children” by Vusamuzulu Credo Mutwa. The oral history of the Bantu of South Africa, this particular work is an excellent example of the narratives from which indigenous African drama has evolved. Additionally, it will provide an excellent segue in to the next topic: Slavery in the United States.
William Wells Brown’s play “Escape: A Leap for Freedom” will be examined 1) not merely for its significance as the first play (written in 1858) by an author of African descent in America but, 2) as an elegant protest piece that decries slavery. Langston Hughes’ history play “Don’t You Want to Be Free?” traces the history of the African from his roots in Africa to the Civil Rights Movement of the 60’s. This work, by one of the country’s most outstanding African writers, is an excellent example of the playwright as a griot. It provides one playwright’s perception of the political attitudes prevalent during the Harlem Renaissance; examines the place of people of African descent (politically, socially, economically, etc.) in America during that period, as well as presenting an example of the extraordinary work that was developed during the Harlem Renaissance.
Discussions pertaining to the cultural, historical, social and political significance of each of these particular time periods will take place. A review of the playwright as an individual will also be initiated. Writing exercises designed to provide students with the basics of play writing will be introduced. It is the intent that these exercises will familiarize students with: basic information about structure and format of a play; stage direction; dialogues, etc.
This curriculum is designed to cover an eight week time frame with two weeks allotted for each the three designated periods in history, the final two weeks will be spent writing a one act play. The curriculum will include no more than three playwrights (one from each of the aforementioned periods). Additionally, it shall include an overview of the literary political and social conditions, contributions and history of people of African descent within each time frame noted above.
Students will be provided the various scripts and/or scenes from the aforementioned works to be read and utilized in class. These assignments will be given in chronological order and will focus on a script or scene by an African playwright from each of the following time periods: Antiquity, Slavery and The Harlem Renaissance.