There is a considerable amount of poetry related to the Civil Rights Movement, which can be understood by fourth grade students, poetry they can relate to with relative ease. Many such poems refer to the feelings and the roles played by children: "Ballad of Birmingham" by Dudley Randall and "Incident" by Countee Cullen, (Clinton,
I, Too, Sing Americ
a, p.92.) are just two. The works of Langston Hughes are particularly appealing, but there are many others. A film and book about Ruby Bridges, the little girl who integrated the elementary schools of New Orleans, should provide considerable motivation. A brief summary of the historical events relevant to this period follows.
Though highly successful in establishing Tuskegee Institute, a major industrial training center for blacks and able to win the support of influential white people, Booker T. Washington could not stem the tide of African American setbacks: increased segregation, loss of voting rights, violence, unemployment, and anti-black riots. W.E.B. DuBois emerged as the leader of those who insisted that blacks demand their full civil rights and favored a strong liberal college education. In 1905, the Niagara Movement was founded, followed by its becoming the NAACP in 1909. African Americans returning from World War I were disillusioned with the loss of jobs and housing. Race, riots sprang up along with the beginnings of black racial pride. In the 20's a literary awakening occurred with the Harlem Renaissance. The depression of the 30's then served to worsen economic life for black Americans. World War II saw the second mass migration from the South. Housing shortages and job competition led to riots. African Americans began to galvanize themselves for moves that would give them far-reaching civil rights. In the courts, especially in Brown v the Board of Education (1954), strides were made. The nonviolent acts of Martin Luther King, Jr., Rosa Parks, and the Montgomery boycott of Washington are just some of the landmarks in the struggle, a struggle that continues today, marked by pain and violence, leading to eventual militancy, "black pride," affirmative action, and, most importantly, the achievement of real progress. The poems students read here will relate to these times and people and will involve students in a more personal examination of the movement. Poems I mention are listed in no particular order, though I will use "I, Too, Sing America," by Langston Hughes, as my starting point. Poems referring to actual historical events and individuals will be covered as they relate to the chronological presentation of historical events. It is difficult to pinpoint when each of the others will be used. Much depends on the group of students and the amount of time the constantly shifting events of an elementary classroom allow. I suggest that the teacher become familiar with a variety of the poems I refer to and then set their own priorities, though I feel each poem has a vital message to deliver.
Three poems by Countee Cullen: "For a Lady I Know" (Hughes,
The Poetry of the Negro
, p. 231.) examines the presumptuous attitude many whites held regarding African Americans. "Saturday's Child" (Clinton,
I, Too, Sing America
, p. 92.) presents a rhythmic though poignant picture of the hardships faced by black children. In the poem "Incident," (Clinton,
I, Too, Sing America
, p. 92.) a piercing wound is delivered by a bigoted white boy to a naïve young black girl. All three are excellent for upper elementary students and should easily motivate writing.
Four poems by Langston Hughes: "I, Too, Sing America" (Clinton,
I, Too, Sing America
, p. 9.) tells us of both the mistreatment of African Americans and their determination to prevail. It will be presented orally by both girls and boys. "Merry-Go-Round" (Hughes,
The Poetry of the Negro
, p. 9.) helps us to realize the sad effects that Jim Crow Laws can have on a child's enthusiasm. "Harlem" (Hughes,
The Poetry of the Negro
, p. 199.) speculates on what could happen to "a dream deferred." "Birmingham Sunday" (Hughes,
The Poetry of the Negro
, p. 200.) vividly tells us of the horrible atrocity which occurred in Birmingham, Alabama on September 15, 1963 when four little black girls were killed as a racially motivated bomb blast ripped through their Sunday School class. It will be used together with another poem, and a newspaper article form the
New Haven Register
, Wednesday, May 2, 2001, announcing that an ex-Klansman finally had been convicted. (See lesson plans.)
I have only listed four poems here, but there are others by Hughes which students relate to easily. Some appear in Hughes'
Selected Poems
, which appears in my bibliography.
Two poems by James Weldon Johnson: "Lift Ev'ry Voice and Sing" (Clinton,
I, Too, Sing America
, p. 38.) was set to music by his brother Rosamond and in 1920 was adopted by the NAACT as the Negro National Anthem. The first verse has been sung by almost every African American student in our area, but the meaning of its words is fuzzy to many of them, as is the son's general significance. All verses will be presented and discussed. (See lesson plans.) "The Creation" (Pinsky,
America's Favorite Poems
, p. 142.) gives us Johnson's version of the biblical Creation. It will be used as an illustration of the strong sense of religious faith that has sustained many African Americans and, also, to prepare an oral presentation which will develop pride in the students presenting. Claude McKay: "We Must Die" (Clinton,
I, Too, Sing America
, p. 58.) was written in response to the racial injustice and violence that was occurring in the South. He presents his words as a challenge:
Like men we'll face the murderous, cowardly pack,
Pressed to the wall, dying, but fighting back!
Sterling Brown: "An Old Woman Remembers" (Gross,
Talk That Talk
, p. 143.) tells the story of the 1906 Atlanta riots. It could easily move into a discussion of the causes of race riots and the effect they may have had on African American history. Pupils will be asked to comment on the woman's concluding comments on arming themselves as a means of ending the riot.
They sat on their front stoops and in their yards,
Not talking much, but ready; their welcome ready:
Their strong oiled and loaded on their knees.
A group of poems will be presented for various heroes involved in American history, as well as poems recalling the heritage of the past and various heroes who may not have been covered previously: "For My People," by Margaret Walker (Hughes,
The Poetry of the Negro
, p. 314.); "Heritage," by Gwendolyn Brooks (Clinton,
I, Too, Sing America
, p. 100.); "Still I Rise," by Maya Angelou (Clinton,
I, Too, Sing America
, p. 107.); "Listen Children," by Lucille Clifton (Gross,
Pass It On
, p. 28.); "Martin Luther King, Jr." by Gwendolyn Brooks, (Clinton,
I, Too, Sing America
, p. 100.); "Women," by Alice Walker (Clinton,
I, Too, Sing America
, p. 122.); "Malcolm X," by Dudley Randall, "American Gothic," by Samuel Allen, (Hughes,
The Poetry of the Negro
, p. 342.); "Harriet Tubman," by Eloise Greenfield (Hudson,
Pass It On
, p. 23.); and "My People," by Langston Hughes (Hudson, Pass It On, p. 22.).
Finally, to conclude this unit, we will focus on the personal feelings of the students about themselves and the accomplishments of those they know, including themselves. Poems relating to personal characteristics and feelings will lead the way for student creations based upon their own feelings and experiences. "Color," by Langston Hughes, "Black Is Best," by Larry Thompson, "Black Is Beautiful," by Useni Eugeni Perkins, "Jim," by Gwendolyn Brooks, "I Can," by Mari Evans, and "WilliMae's Cornrows," by Nanette Mellage are just a few which will be used. Poems about family will now be featured: "Big Mama" and "My Daddy Is a Cool Dude," by Karama Fufuka, A Grandfather Poem," by William J. Harris, "Mother to Son," by Langston Hughes, and "Daddy's Little Girl," by Linda Michelle Baro. Again, these poems are from a group of poems that I have accumulated over the years. Most can be found in general anthologies of African American poetry or can be replaced with other poems conveying messages of personal pride in self and/or family. Some, but not all, are in the anthologies I have listed in my bibliography. They lend themselves well to use with motivators suggested by Koch. (See bibliography.) "I wish ___," "I am proud ___," or "Once I ___ But now I ___."
There are many other poems that would be appropriate for all sections covered in this unit. Each teacher should feel free to add or subtract from those that are mentioned. The important element is to include works which make historical facts more real to students and which motivate them to write poems of their own.
Each student will compile a two-pocketed folder containing copies of the poems the class has read together, along with those poems which that particular student has written and related essays and research materials. The group will print a class publication of favorite poems created by students. One a regular basis, students will share their creations with the rest of the class. Occasionally, students will go to other classrooms to ready their poetry. They especially will trade poems with members of the other two classes whose teachers are participating in a team within this poetry seminar. The unit will last until the team's culminating assemble in April, gaining intensity as the event nears.
Since the culmination of this unit will be an assembly presented to the school and parents by the three-team classrooms, pupils will have ample opportunity to develop dramatic readings of their own poetry and that which they have read as a group. It is hoped that some parents will be motivated to write poetry about the pride they feel about their children.