Objectives
The population of thirteen and fourteen year old students with whom I spend the majority of my waking hours comprises a population which many in town refer to as the "combat zone." Upon reuniting with famous metal worker and her friend from South Africa, Tom Joyce, who works out of the garage studio on his property in Santa Fe, my daughter Kim returned from lunch repeating Tom's words, "Your mom is very brave." So be it. I love these kids. Last year, a survey of students showed that 97% of students at Alameda Middle School have at least one family member in prison. I won't belabor the point here. Remember how we hated for our weekends to end when we were growing up? My students are exhausted and relieved on Monday morning to return to Alameda, the one really safe haven in their lives, though they balk at the boundaries and standards which we "impose" upon them, which they subconsciously crave from their parent/s/guardian. There is great promise in them, and I believe that my tutelage and empathy, long talks, and humor, plus a handshake with every student as he/she arrives for class each day, make a difference. The promise, in fact, blossoms in many.
This unit is designed to imbue seventh and eighth grade middle school students with a deepening awareness of African storytelling through African produced film. Students will find cultural relevance in films heretofore unavailable to them; indeed, teachers know that students who make personal connections and attach meaning to their lessons tend to be more engaged and more receptive to the learning experience. The two films which will be viewed in depth were produced in Africa, and they are dynamic. Elements of African storytelling will be studied with the role of the African griot as the messenger in a boy's rite of passage. Indeed, the griot will come alive through the viewing of Keita:The Heritage of the Griot, a classic film about the change in a boy's life when the griot comes to his comfortable contemporary home to tell the story of his origin and thus his destiny. A second African film, Wend Kuuni, wields its magic in the story of a mute village boy deeply connected to his hidden past. Herein, creative innovative film artists teach us on the screen how community needs, historical pressures, and cultural interactions affect traditional African storytelling. Students will be led to examine their own family's oral traditions in order to see themselves as special youngsters connected to a unique past.
All necessary background for the teacher will be included in this unit. In order to glean and fully appreciate the filmmaker's task, a study of cinematic conventions will help students not only to understand the essentials of filmmaking but also to dissect them and then to critically review how the sound, lighting, music, dialogue, character placement and camera movement develop two unforgettable films centered on African orality. Teaching strategies will speak to skilled differentiated instruction methods followed by well-developed lesson plans which correlate to the Language Arts content standards of most states. Lastly, assessment techniques will be included for teacher perusal as a measurable means of student success. Resources for this unit were generously made available to me at Yale University's Sterling Library, Film Study Center, and seminars under the tutelage of Dr. Dudley Andrew.
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