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14Enr ichment Guide

Proud Cornerstone member of:

The UndergroundRailroad to Freedom

This program is supported in part by a grant from the Milwaukee Arts Board and the Wisconsin Arts Board with funds from the state of Wisconsin.

Sponsored by:

A Midnight Cry

Dear Teachers and Parents,

First Stage produced the world premiere of A MIDNIGHT CRY nine seasons ago, in our 2004-2005 season. A story of a young girl's journey to freedom through the underground railroad, inspired by the true story of Caroline Quarlls’, who passed through Milwaukee, WI on her way to Canada. This moving historical drama brings to life a vital part of our nation’s history.

Enclosed in this enrichment guide is a range of materials and activities intended to help you discover connections within the play through the curricula. It is our hope that you will use the experience of attending the theater and seeing A MIDNIGHT CRY with your students as a teaching tool. As educators and parents, you know best the needs and abilities of your stu-dents. Use this guide to best serve your children—pick and choose, or adapt, any of these suggestions for discussions or activities. We encourage you to take advantage of the enclosed student worksheets— please feel free to photocopy the sheets for your students, or the entire guide for the benefit of other teachers.

Enjoy the show!

Julia MagnascoEducation Director(414) 267-2971Julia@firststage.org

Setting the StAgepreparing for the play

Synopsis . . . . . . . . . . . . . . . . . . . 5–6About the Playwright . . . . . . . . . . . . 5About the Composer . . . . . . . . . . . . 5About the Arranger . . . . . . . . . . . . . 5Recommended Reading . . . . . . . . . 8Pre-Show Questions . . . . . . . . . . . . 8

For teACherSCurriculum connectionsbefore or after the play

CoNNECTING To YoUR CURRICUlUM . . . . . . . . . . . . . . . 3

NoTES FRoM FIRST STAGE’S DRAMATURGE . . . . . . . . . . . . . . 4

SoCIAl STUDIESEscaping to Freedom— The Story of Henry “Box” Brown . . . 9Defining Human Rights . . . . . . . . . 14

MUSICCoded Communication— Mapping Songs . . . . . . . . . . . . 10–11

ARTQuilt Codes of the Underground Railroad . . . . . . . 12–13

MATHChallenges Along the Way: Word Problems . . . . . . . . . . . . . . . . . . . . 15

CurtAin CAll

Post-Show Questions . . . . . . . . . . 16Who Said It? . . . . . . . . . . . . . . . . . 16Who Said it? (ANSWERS) . . . . . . . 17

First Stage Policies• The use of recording equipment and cameras are not permitted during

the performance.• Food, drink, candy and gum are not permitted during the performance.• Electronic devices are not permitted in the theater space.• Should a student become ill, suffer an injury or have another problem, please

escort him or her out of the theater space.• In the unlikely event of a general emergency, the theater lights will go on

and the stage manager will come on stage to inform the audience of the problem. Remain in your seats, visually locate the nearest exit and wait for the stage man-ager to guide your group from the theater.

Seating for people with special needs: If you have special seating needs for any student(s) and did not indicate your need when you ordered your tickets, please call our Assistant Patron Services Manager at (414) 267-2962. our knowledge of your needs will enable us to serve you better upon your arrival to the theater.

INSIDE THE GUIDEA Note to Teachers and Parents

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Below is a list of the Common Core Standards, 21st Century Skills and Wisconsin Model Academic Standards addressed in the activities throughout THE BEST CHRISTMAS PAGEANT EVER Enrichment Guide.

Connecting To Your Curriculum

CoMMon Core StAte StAndArdS— engliSh lAnguAge ArtSCCSS.ElA-literacy.Rl.3.3 Describe characters in a story (e.g., their traits, motivations, or feelings) and explain how their actions contribute to the sequence of events.

CCSS.ElA-literacy.RI.3.3 Describe the relationship between a series of historical events, scientific ideas or concepts, or steps in technical procedures in a text, using language that pertains to time, sequence, and cause/effect.

CCSS.ElA-literacy.RI.3.7 Use information gained from illustrations (e.g., maps, photographs) and the words in a text to demonstrate understanding of the text (e.g., where, when, why, and how key events occur).

CCSS.ElA-literacy.Sl.3.1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teach-er-led) with diverse partners on grade 3 topics and texts, building on others’ ideas and expressing their own clearly

CCSS.ElA-literacy.Rl.4.7 Make connections between the text of a story or drama and a visual or oral presenta-tion of the text, identifying where each version reflects specific descriptions and directions in the text.

CCSS.ElA-literacy.RI.4.3 Explain events, procedures, ideas, or concepts in a historical, scientific, or technical text, including what happened and why, based on spe-cific information in the text.

CCSS.ElA-literacy.RI.4.7 Interpret information presented visually, orally, or quantitatively (e.g., in charts, graphs, diagrams, time lines, animations, or interactive elements on Web pages) and explain how the information contrib-utes to an understanding of the text in which it appears.

CCSS.ElA-literacy.Sl.4.2 Paraphrase portions of a text read aloud or information presented in diverse media and formats, including visually, quantitatively, and orally.

CCSS.ElA-literacy.Rl.5.2 Determine a theme of a story, drama, or poem from details in the text, including how characters in a story or drama respond to challenges or how the speaker in a poem reflects upon a topic; sum-marize the text.

CCSS.ElA-literacy.Rl.5.4 Determine the meaning of words and phrases as they are used in a text, including figurative language such as metaphors and similes.

CCSS.ElA-literacy.Sl.5.5 Include multimedia compo-nents (e.g., graphics, sound) and visual displays in pre-sentations when appropriate to enhance the development of main ideas or themes.

WiSConSin Model ACAdeMiC StAndArdS—SoCiAl StudieS/hiStoryB.4.1 Identify and examine various sources of information that are used for constructing an understanding of the past, such as artifacts, documents, letters, diaries, maps, textbooks, photos, paintings, architecture, oral presentations, graphs, and charts.

B.4.3 Examine biographies, stories, narratives, and folk tales to understand the lives of ordinary and extraordinary people, place them in time and context, and explain their relationship to important historical events.

B.4.4 Compare and contrast changes in contemporary life with life in the past by looking at social, economic, political, and cultural roles played by individuals and groups.

B.4.5 Identify the historical background and meaning of important political values such as freedom, democracy, and justice.

B.8.1 Interpret the past using a variety of sources, such as biographies, diaries, journals, artifacts, eyewitness interviews, and other primary source materials, and evaluate the credibility of sources used.

B.8.3 Describe the relationships between and among significant events, such as the causes and consequences of wars in United States and world history

B.8.5 Use historical evidence to determine and support a position about important political values, such as freedom, democracy, equality, or justice, and express the position coherently

21St Century SKillS Collaboration and Communication Critical Thinking and Problem Solving Creativity and Innovationleadership and Responsibility

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MrS. CAroline QuArllS WAtKinS, MilWAuKee, Wi And the underground rAilroAd During the late 1800’s, Milwaukee was a station on the Underground Railroad (1800’s – 1865), a network of abolitionists who conducted clandestine activity to provide opportunities for Americans forced into labor to find freedom in the “Free States” in US and in Canada.

From an article printed by northwest Quarterly: “According to the Milton Historical Society, early settlers in Wisconsin came primarily from New England and New York, and brought with them their abolitionist views. Wisconsin’s first abolitionist society and anti-slavery newspaper were both established before the territory became a state in 1848.

“In Southeastern Wisconsin, underground railroad activities began around 1840. Racine and Milwaukee were destinations for escaped slaves and embarkation points for travel north by ship. After the escape of the slave Joshua Glover, Wisconsin became the only state in the Union before the Civil War to declare the Fugitive Slave law of 1850 unconstitutional and unenforceable.”

In 1842, a sixteen year old Caroline Quarlls Watkins escaped from a plantation in St louis, Mo and traveled by stage coach to Milwaukee where she was befriended by Whites and free African Americans who hid “run-aways” in their homes, businesses, churches and even on the Milwaukee River. As the child of her white owner and African/Native American mother, Mrs. Watkins was able to “hide in plain-site” because she was very light in complexion and had blue eyes.

Mrs. Quarlls Watkins’ skills as a seamstress made her very valuable to her owners. A reward of $300 was offered for her capture and her image was engraved on wanted posters. This meant she had to truly go into hiding. once in Milwaukee, Atty. Asa Finch provided cover and funds for Caroline Quarlls for escape to Canada. “lawyer Finch,” is one of the founders of Milwaukee law firm, Foley and lardner, llC. The incident is documented in the firm’s historical documents.

Wisconsin has the distinction of a record of the first documented person who traveled via the Underground Railroad. That person is Mrs. Caroline Quarlls Watkins!

Sources include:

http://www.burlingtonhistory.org/caroline_quarlls_1842_journey_on.htm

http://www.wisconsinhistory.org/dictionary/index.asp?action=view&term_id=10452&term_type_id=1&term_type_text=People

http://images.library.wisc.edu/WI/EFacs/wipionexp/Goodnow2e/reference/wi.goodnow2e.i0001.pdf

http://northwestchicagoland.northwestquarterly.com/2011/01/local-ties-to-the-underground-railroad/

Notes from First Stage’s Dramaturge

http://www.burlingtonhistory.org/Dyer%20Life%20&%20Times.htm

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In shadowy darkness, voices are heard cautiously speaking about sounds. The woman’s asks, “Who’s there?” She approaches a shadowy figure and asks if there is any message from someone who has been away a long time. The figure says nothing, tosses a package and quickly leaves. One of the men with her takes the package and carefully opens it. It is book. He says give it to the second man, Uncle Eli. He tells them to keep a look out, opens the book and begins to read.

As he reads, Eli discovers the book is called A MIDNIGHT CRY by lida Anderson. Mama and Papa rejoice to learn lida is no longer a slave and has written a book about her life. As Uncle reads the account the story comes to life as lida appears and takes over the narration.

Suddenly, lida and her family are on a plantation. It is mid-day and, the spiritual Up Above My Head is heard as the overseers Bullard and Jessup angrily bark out orders to men, women and children working in the field. lida speaks to the audi-ence, describing the hardship of plan-tation life and while dreaming of free-dom. others join her agreeing, Freedom is possible!

Later that evening, Uncle Eli quietly teaches Lida to read. As she sounds out letters, Uncle Eli explains how important it is to learn to read and write. He then gives her a book from Master Halston’s library. lida then describes to the audience how it felt to read her first word, “The.” Such a small word, but an important word because she read it by herself. Eli leaves feeling joy for lida.

Just then little sister Keeley sneaks up on lida, snatches the book and runs with it. Keeley teases lida until she promises to teach her how to read. The two hear Papa and Uncle Eli approaching and hide. They overhear the men taking about runaways, living’ in the woods and free-states. Excitedly, lida runs to them with

questions. The men are reluctant to speak about freedom, but finally they do.

When Mama sees them, she admonishes the men, reminding them that they family had been split apart because of their son

Setting the Stage Synopsis

Pre-Show and Post-Show Workshops Enhance your field trip experience with a pre-show or post-show workshop that takes place directly in your classroom. Students will have an opportunity to actively explore the themes in A MIDNIGHT CRY, such as courage and determination, perseverance, and justice and equality. This deep and enriching experience will allow students to prepare and reflect appropriately on this historical drama.

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trying to escape. She tells them about hearing the midnight cry of a baby being sold at auction, “A sound you never forget.” As Mama speaks time shifts and it is day. Keeley is playing when Bullard grabs her and begins rubbing a dark paste on her skin so she will “fetch a good price.” Keeley begins to scream, “Please don’t sell me away.” As this happens, lida has been working with a knife and is ready to defend her sister. She runs toward the men with the knife and cuts Bullard. Eli attends to his wound as Jessup rings the bell to call Master Halston.

Halston calls for a doctor and prepares to take Keeley. Mama begs for mercy but Halston ignores her cries. Keeley is sold. lida explains the pain of witnessing this tragic event and that she never saw her baby sister again. Her mother’s heart broken, she was never the same. Jessup then punishes lida for attacking him by whipping her as the spiritual My Soul Wants Something That’s New is sung.

The next day Mama and lida fold clothes. As they work lida asks Mama about the conversation she overheard between Papa and Uncle Eli about ‘free-states.” Mama warns her about the dangers of such talk and admonishes her for thinking so harshly of Papa. Papa did run for freedom, was caught and almost beaten to death as an example to the rest. Mama seeing the determination in lida’s eyes decides to speak with Uncle Eli about “free-states and running away.”

As they speak, Uncle Eli, Papa and lida make preparation for her “run.” They teach her of lessons on how to read nature as a map (stars, plants, river current) and share secrets of the Underground Railroad, a system of good people who help runaway slaves. Suddenly, they hear footsteps and return to their work. It’s Bullard. He demands lida come with him. Papa, lida and Bullard struggle until Master Halston appears and asks what is going on. As Mama begins to speak, Halston stops her and tells Bullard to meet him at the house. When they exit, Papa and Eli hurry to get lida ready to run!

As darkness covers them, all say goodbye to lida. As she dis-appears on her run to freedom, Halston and Bullard appear with dogs. Uncle Eli gets their attention and draws them in the oppo-site direction of lida. lida then describes how she looked back and saw Uncle Eli being attacked by the slave catchers and dogs. She knows he endured the torture to help her. She also hears Bullard offering $200 in reward for her return.

Not long into her journey, lida meets her first conductor on the Underground Railroad at the door of a cabin. His name is Rev. Nelson. He gives her fresh clothes, food and instructions. She will take a riverboat north and he teaches her how to follow a map. She hides in a buggy until her next opportunity to run.

They travel to a church where she meets a Mrs. Williams, the church caretaker. They break open a collection box and give the money to lida. Rev. Nelson tells lida they will go to Platteville, WI but lida tells him that she wants to go to another place called Milwaukee. She says the town is bigger and has more people.

lida believes she could hide better there. Rev. Nelson agrees to help her go ahead to Milwaukee.

lida describes the next leg of her journey and the kind souls on the Underground railroad that assists her while Bullard was always a few steps behind her. They arrive in Milwaukee to the home of Joshua and Hannah, who welcome the exhausted lida. Hannah prepares lida’s bed and sings a lullaby. lida describes what it feels like to sleep on a mattress for the first time.

The next morning they all go to lawyer Fitches to arrange lida’s Freedom. Fitch tells lida she will need to change her name. She will no longer be lida, but Millicent or Elizabeth or lydia. She stays on to work for him. She goes to the kitchen to bring him a slice of pie when Bullard walks into the office. Fitch tries to warn her when Bullard catches on. Fitch grabs Bullard while calling to her, “Run to Joshua’s.”

The spiritual Didn’t My lord Deliver Daniel is heard as this perilous leg of lida's journey plays out in Milwaukee. Joshua hides lida in a barrel and floats her on the Milwaukee River. Suffering from claustrophobia, lida keeps herself calm by remembering her fam-ily, especially Keeley. The next day Joshua, Hannah and Fitch find lida safely in the barrel, floating on the Milwaukee River. Bullard arrives to demand lida at gunpoint. The three pretend to give in as they huddle around lida--- who escapes!

At this point in the story, Uncle Eli, Mama and Papa reappear with the book. They beg Eli to tell them how lida escaped. Eli reads how a Mr. lyman rowed his boat next to the barrel and lida climbed onboard. He continues to read about her journey further north. lida takes over the narration, describing how it feels to be free. Sending them a message in the book that she wants her family to join her in Freedom!

Setting the Stage Synopsis

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About the Playwright: JAmeS DeViTA

James DeVita a native of long Island, New York, is an author and playwright, and an actor. Along with his two novels, The Silenced and Blue, he has also written more than twenty plays and adaptations of classics for young audiences and adults. DeVita is the resident playwright for First Stage. His adaptation of Felix Salten's novel, BAMBI, A lIFE IN THE WooDS, won The Distinguished Play Award from The American Alliance of Theater and Education; Rose of Treason was awarded The Intellectual Freedom Award by the Kentucky Council of Teachers of English/language Arts; and looking Glass land won the Shubert Fendrich Memorial Playwriting Contest. Jim is also a recipient of the National Endowment for the Arts literature Fellowship for Fiction, and The American Alliance of Theater and Education has just honored his body of work with the 2007 Charlotte B. Chorpenning Award. His plays include: A MIDNIGHT CRY (The story of the Underground Railroad); RoSE oF TREASoN (The true story of Sophie Scholl and The White Rose); TRIAlS: THE SToRY oF JoAN oF ARC, AND BETH; A lITTlE HoUSE CHRISTMAS , THE PRINCE AND THE PAUPER. Taken directly from: http://www.imdb.com/name/nm2508937/bio?ref_=nm_ov_bio_sm

About the Composer: JoSh SChmiDT

About the Arranger: Sheri WilliAmS PANNell

Josh Schmidt, a native of Mequon, WI and is an award-winning composer ADD1NG MACH1N3 (Lucille Lortel Award - Best Musical; outer Critic’s Circle Award - Best Score & Best off-Broadway Musical; Joseph Jefferson Award - Best Musical; as well as 4 obie Awards, 9 Drama Desk nominations, and Drama league nomination for Best Musical), ADD1NG MACH1N3 was also heralded as one of the ten best events of 2008 in the New York Times, Wall Street Journal, Time out NY and Chicago Tribune. Recent credits include A MINISTER’S WIFE (lincoln Center Theatre; Writer’s Theatre – Best Musical Jeff Award), WHIDA PERU (Primary Stages/59E59) and GIFT oF THE MAGI (American Players). Incidental scores include WHEN THE RAIN SToPS FAllING (lincoln Center), FIFTY WoRDS (MCC), WoRKS AND PRoCESS (Guggenheim Museum), and MUSIC FRoM AlMoST YESTERDAY (Barrow Street). Josh’s sound composer/designer Broadway & off-Broadway credits include HoUSE oF BlUE lEAVES, BRIGHToN BEACH MEMoIRS (with Fitz Patton), CRIME AND PUNISHMENT (59E59). He has composed/designed for Steppenwolf Theatre Company, South Coast Rep, Stratford Festival, The Kennedy Center, Seattle Rep, Cleveland Playhouse, Ford’s Theatre, Alley Theatre, and Milwaukee Rep. Josh is a 2012 Sundance Theatre lab UCross artist, and a recipient of the American Musical Voices Project honoree grant and Graduate of the Decade Award (UW-Milwaukee). He is a graduate of the University of Wisconsin-Milwaukee and is a guest lecturer at Harvard, Suffolk, University of Mississippi-oxford, Illinois-Urbana/Champaign and UW-Madison. Taken directly from: http://www.rnh.com/bio/2745/Schmidt-Joshua

Sheri Williams Pannell is from Milwaukee and made her debut at First Stage as Sojourner Truth in A WoMAN CAllED TRUTH and has appeared in A MIDNIGHT CRY, SMolDERING FIRES, THE WIZ, HolES, PERSEUS BAYoU, oNE HUNDRED DRESSES and ClICK, ClACK, Moo and directed the productions To THE PRoMISED lAND, MUFARo’S BEAUTIFUl DAUGHTERS and THE WATSoN’S Go To BIRMINGHAM: 1963 at First Stage. Additional directing credits include A BRoTHER’S GooDBYE Milwaukee Chamber Theater, AIN'T MISBEHAVIN’ Skylight opera, SPITFIRE GRIll old lyric, IN DARFUR United Nations/UW Madison, YElloWMAN University Theater, MERRY WIDoW University opera, MoST VAlUABlE PlAYER, oNCE oN THIS ISlAND, HMS PINAFoRE and JUNGlE BooK Children’s Theater of Madison. Her original plays include THE CARE PACKAGE, HARlEM NoCTURNE and MISS WIllIAMS Milwaukee Rep Education Department; AN EVENING AT CHEZ BRICKToP’S and WITH HAND AND HEART Milwaukee Art Museum and BABY DEAREST African American Children’s Theater. She has performed with Florentine opera, Milwaukee Rep, InTandem, Skylight Music Theater, old lyric and the Children’s Theater of Madison. She is an Education Department lead Educator at First Stage and dramaturg for New Play Development. Sheri is a graduate of Spelman College and holds a MFA in Theater and Drama from the University of Wisconsin – Madison.

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Caroline Quarlls and the Underground Railroad by Julia Pferdehirt

Freedom Train North: Stories of the Underground Railroad in Wisconsin by Julia Pferdehirt

Unspoken: A Story From the Underground Railroad by Henry Cole

Henry's Freedom Box: A True Story from the Underground Railroad by Ellen levine and Kadir Nelson

North by Night: A Story of the Underground Railroad by Katherine Ayres

Sweet Clara and the Freedom Quilt by Deborah Hopkinson

The Story of Harriet Tubman: Conductor of the Underground Railroad by Kate McMullan

The Drinking Gourd: A Story of the Underground Railroad by F. N. Monjo and Fred Brenne

Dear Austin: Letters from the Underground Railroad by Elvira Woodruff and Nancy Carpenter

Moses: When Harriet Tubman Led Her People to Freedom by Carole Boston Weatherford and Kadir Nelson

The Patchwork Path: A Quilt Map to Freedom by Bettye Stroud and Erin Susanne Bennett

1. What is the Underground Railroad? Can you name any prominent figures from the Underground Railroad?

2. Could you ever imagine wanting something so badly you would risk your life for it? If so, what would that be and why would it be worth risking everything?

3. What does it mean to be a hero? Identify every day heroes in your life and community—what makes these peo-ple heroic, and how do their words and actions inspire you?

4. What are human rights? Discuss this with your family or classmates? What are rights and freedoms every human deserves to have? Research the Universal Declaration of Human Rights, and identify what you and your family can do today to ensure all humans are granted basic rights.

Pre-Show Questions

recommended reading

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escaping to Freedom—The Story of henry “Box” Brown SoCiAl STuDieS ClASSroom ACTiViTY

Henry Brown was a young boy when he escaped from slavery in 1849. Brown had himself shipped to freedom in a crate as railroad freight. He traveled from Richmond, Virginia, all the way to Philadelphia, where he adopted the name Henry “box” Brown.

The picture entitled, “The Resurrection of Henry Box Brown at Philadelphia,” was drawn by Samuel Rowse in 1850. The words on the picture say: “The Resurrection of Henry Box Brown at Philadelphia who escaped from Richmond, Va. in a box 3 ft. long, 2 1⁄2 ft. deep and 2 ft. wide.”

ACtivity1. Have students map the freight train journey from Richmond, VA to Philadelphia, PA and identify how many miles

between these two cities.

2. Using yarn or masking tape, map out on the floor the dimensions of the box in which Henry Box Brown traveled. Allow students to discuss the immediate and longer-term challenges of traveling a far distance in a box this size. Discuss the precautions Henry must have took before setting on his journey to freedom. Continue by discussing the cost of freedom—what freedoms do we have, and to what lengths would we go to secure those freedoms if they were ever away from us.

3. looking at the picture, allow students to share what they think Henry’s first words were after the box was opened and he discovered he was finally free. From here, allow groups to work alone or in pairs to come up with dialogue for the scene depicted in the picture.

a. Students must explore and research who the characters are in the picture, how they found Henry’s box, what their immediate reactions were, and perhaps what was the next thing to happen in this scene.

b. If time permits, allow students to share their scenes through a Reader’s Theatre activity.

Adapted from: http://education.miami.edu/legacyproject/documents/HenrysFreedomBox.pdf, http://www.vahistorical.org/collections-and-resources/virginia-history-explorer/resurrection-henry-box-brown

Picture by Samuel Rowse reprinted from Virginia Historical Society

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Coded Communication—mapping Songs SoCiAl STuDieS/muSiC ClASSroom ACTiViTY

Communication and secrecy were both vital to successfully bringing fugitive slaves to freedom. There were no telephones, and there wasn’t access to telegraphs. Fugitive slaves and members of the Underground Railroad created codes in songs, letters, even the way quilts were hung outside on clotheslines had a coded meaning. Coded communication was crucial to the successful operation of the Underground Railroad Secrecy.

Many spirituals sung by slaves seemed to be praising God, but they actually held secret messages that helped enslaved escape to freedom. Signal songs shared information of a certain event about to take place, such as a planned escape from a plantation. Map songs used the lyrics to direct people to specific points along the Underground Railroad. one of the most famous map songs was “Follow the Drinking Gourd,” which uses a gourd to make reference to the Big Dipper and the North Star, serving as a compass guiding north.

ACtivitylisten to the song “Follow the Drinking Gourd,” while reading along to the lyrics: http://www.youtube.com/watch?v=pw6N_eTZP2U.

When the sun comes back and the first quail calls, Follow the Drinking Gourd.For the old man is awaiting for to carry you to freedom, If you follow the Drinking Gourd.

Chorus:Follow the Drinking Gourd,Follow the Drinking Gourd,

For the old man is awaiting to carry you to freedom If you follow the Drinking Gourd.

The river bank makes a very good road, The dead trees will show you the way, Left foot, peg foot, travelling on, Follow the Drinking Gourd.

(Chorus)

The river ends between two hills, Follow the Drinking Gourd.There’s another river on the other side, Follow the Drinking Gourd.

(Chorus)

Where the great big river meets the little river, Follow the Drinking Gourd.For the old man is awaiting to carry you to freedom If you Follow the Drinking Gourd.

Information from: http://ctl.du.edu/spirituals/freedom/coded.cfm, http://www.artsmartindiana.org/resources/ugrr.php, http://www.safepassageohio.org/resources/weblesson.pdf

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Coded Communication—mapping Songs (Cont.) SoCiAl STuDieS/muSiC ClASSroom ACTiViTY

Afterwards, share the list of code phrases with your class. Ask them to identify the coded phrases in the song “Follow the Drinking Gourd.” Using a map, see if you can identify specific places of importance mentioned in the code song. Then, listen to the song again, noting these coded phrases. Code Phrase list taken from: http://www.northern-stars.com/Follow_theDrinking_Gourd.pdf.

The wind blows from the South today — A warning that slave bounty hunters were nearby.

A friend with friends — A password used to signal arrival of fugitives with an Underground Railroad conductor.

A friend of a friend sent me — A password used by fugitives traveling alone to indicate they were sent by the Underground Railroad network.

When the sun comes back and the first quail calls — Early spring, a particular time of year good for escaping.

The river bank makes a mighty good road — A reminder that tracking dogs could not follow the scent of fugitives through the water.

The dead trees will show you the way — A reminder that moss grows on the north side of dead trees, so if the North Star were not visible, they would know which way to walk.

Left foot, peg foot — A visual clue for escapees led by an Underground Railroad worker famous for his wooden leg.

The river ends between two hills — The Tombigbee River in Mississippi.

When the great big river meets the little river — The ohio River and its tributaries.

Steal away, steal away, steal away to Jesus — Used to alert other slaves that an escape attempt was anticipated.

Information from: http://ctl.du.edu/spirituals/freedom/coded.cfm, http://www.artsmartindiana.org/resources/ugrr.php, http://www.safepassageohio.org/resources/weblesson.pdf

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Quilt Codes of the underground railroad SoCiAl STuDieS/ArT ClASSroom ACTiViTY

Notes from the DramaturgeI have taken time to review resources in my own library and search on line resources (PBS, National Geographic and other outlets that utilize the services of credible historians), and there seems to be a lot of controversy about the use of quilts and the Underground Railroad. The problem for the historians is the lack of substantiation from multiple primary sources such as first hand accounts in the Slave Narratives. Only a few families have passed down the quilt stories. Also, the quilt patterns are considered very elaborate. They question whether a slave woman would have taken the time to create such a quilt and devise such a com-plicated scheme. Those historians who defend the quilt theory assert that the quilts (as one book title states) were hidden in plain view, therefore the meaning of the quilts would be kept a secret. This secret is why there is so little corroboration for the quilt story. As for the skills and time to make a quilt and devise a scheme, I am of the belief that desperate time calls for desperate measures. This is why the run-away slaves endured claustrophobic conditions such as boxes, cellars and barrels to escape to freedom. As for skills, these were the same women who made ball gowns and fancy table linens for the mistresses. We offer the information to the youth and their teachers, with the understanding that the quilt story has been challenged by some historians, but for other historians it is fact. For lay-persons, the quilt story is a source of inspiration.

Secret codes on the Underground Railroad were used in letters, songs…and even quilts. Many slaves did not read, because it was illegal to teach them how to read. Quilts served as maps that guided slaves on their journey North to freedom. Sampler quilts used specific blocks arranged in order of the code, and these patterns gave slaves information on how to prepare for their escape, what to and where to go on their trip.

Quilt PAtternS And their MeAningSMonkey WrenchThis meant the slaves were to gather all the tools they might need on the journey to freedom. Tools meant: something with which to build shelters, compasses for determining direction, or tools to serve as weapons for defending themselves.

Wagon WheelThis was the second pattern to be displayed, which signaled the slaves to pack all the things that would go in a wagon or that would be used during their journey. This was a signal for the slaves to think about what essentials they needed to survive the trip.

Bear’s PawIt’s believed that this pattern was sometimes used to help fugitives follow the path of the bear, and to identify landmarks on the edge of the plantation.

Crossroadsonce through the mountains, slaves were to travel to the crossroads. The main crossroad was Cleveland, Ohio. Any quilt hung before this one would have given directions to Ohio.

Taken from: http://page.reallygoodstuff.com/pdfs/154227.pdf

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Quilt Codes of the underground railroad SoCiAl STuDieS/ArT ClASSroom ACTiViTY

log CabinThis pattern was used to let the slaves know where safe houses were. People who helped the Underground Railroad may have identified themselves as friends to slaves on the run by tracing this pattern in dirt as a sig-nal. This quilt told slaves to look for this symbol on their journey to freedom. It was also a symbol to set up a “home” in a free state.

Bow tiesSlaves’ clothes were often tattered and easy to spot. This pattern meant that someone would bring the slave nice clothes to help them blend in with the free blacks.

Flying geeseThis pattern told the slaves to follow migrating geese north towards Canada and to freedom. This pattern was used as directions as well as the best season for slaves to escape. Geese fly north in the spring and summer. Flying geese pointed to the direction, north, for the slaves to move. Also, geese would have to stop at waterways along their journey in order to rest and eat. Slaves were to take their cues on direction, timing and behavior from the migrating geese.

drunkard’s PathThis was a clear warning for the slaves to move in a staggering fashion so as to elude any following slave hunters. It was suggested that slaves even double back to elude their pursuers.

north Star (evening Star/Star)This instructed the slaves to follow the North Star to Canada and to freedom.

tumbling Blocks (Boxes)This signaled to the slaves—by the number of boxes and knots—the time to “box up” all one’s belongings in preparation to escape.

ACtivityUsing the site: http://page.reallygoodstuff.com/pdfs/154227.pdf, print out quilt pattern templates for students. Share the quilt square codes and instruct students to create quilt squares with hidden meanings. Remind them that colors, patterns, tex-tures, “stitches” and “knots” (drawn on with a fine line marker), can each indicate a coded symbol. Tape or glue students’ individual squares together to form a code.

Taken from: http://page.reallygoodstuff.com/pdfs/154227.pdf

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Defining human rights SoCiAl STuDieS ClASSroom ACTiViTY

Taken directly from: http://www1.umn.edu/humanrts/edumat/hreduseries/hereandnow/Part-3/Activity1.htm. A Publication of the Human Rights Educators' Network of Amnesty International USA, the Human Rights

Resource Center, and the Stanley Foundation. Copyright 1998.

ACtivity1. Ask students sitting in a circle to think of a quality about themselves that they consider a good quality. Using a talking

stick or simply speaking in turns, ask each to describe that quality briefly.

2. If students have difficulty generating qualities about themselves, ask "What are some qualities we admire in people?" and write a list of responses on the board. Have each student pick one that is true for her or him.

a. Ask some of these questions:• Do you respect in others the quality you like about yourself?• Do you respect good qualities in others that you do not have?• Do all human beings deserve respect? Why?• How do you show respect for others?

3. Ask students if they can remember a time when they felt hurt because someone did not respect them.• Did someone say something insulting or hurtful to you?• Why do people sometimes say bad things to each other? • What is dignity? Is your dignity hurt when others do not respect you? How does it feel to you?

4. Ask the group how human beings differ from other living creatures. Emphasize that human beings communicate with words, not just sounds, and that they decide many things about their lives.

5. Write the words "HUMAN" and "RIGHTS" at the top of chart paper or a board. Below the word "human" draw a circle or the outline of a human being.

a. Ask students to brainstorm what qualities define a human being and write the words or symbols inside the outline. For example, "intelligence," "sympathy."

6. Next ask students what they think is needed in order to protect, enhance, and fully develop these qualities of a human being. List their answers outside the circle. For example, "education," "friendship," "loving family."

7. Ask "What does it mean if we say that all human beings deserve respect because they all have human dignity?"

8. Explain that everything inside the circle relates to human dignity, the wholeness of being human. Everything written around the outline represents what is necessary to human dignity. Human rights are based on these necessities.

a. Explain that after a terrible war, World War II, all the countries of the world agreed in 1948 on a document that said the world would be more peaceful if everyone respected the dignity of every human being. These words are contained in the Universal Declaration of Human Rights.

9. Read these sentences from the Universal Declaration of Human Rights and explain that this document sets the standard for how human beings should behave towards one another so that everyone’s human dignity is respected:

…recognition of the inherent dignity and of the equal and inalienable rights of all members of the human family is the foundation of the freedom, justice, and peace in the world…

All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.

10. Ask students to think of one example of how life in their community could be more peaceful if people showed greater respect for each other.

11. Have students work in pairs or alone to illustrate one way they could show respect to someone. Share these ideas with the rest of the class.

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Challenges Along the Way: Word Problems mATh ClASSroom ACTiViTY

Slaves faced a number of challenges when trying to escape to freedom. oftentimes, there were many slaves in a particular location with a scarce amount of food. It was necessary to ration it so that each per-son would receive a fair amount. Read the word problems below and answer the questions. Make sure to show your work.

1. A group of three slaves staying at the same station along the Underground Railroad are given nine pieces of dried pork. How many piece of pork does each person receive?

2. Four slaves on the Underground Railroad receive twelve boiled potatoes from a group of supportive stockholders. How many potatoes does each person get?

3. A group of ten escaping slaves are given ten apples. How many apples does each person receive?

4. Seven slaves traveling on the Underground Railroad, attempting to escape to freedom, receive fourteen yams. How many yams does each person get?

5. A large group of sixteen runaway slaves received only eight biscuits. How could they divide the biscuits evenly?

Taken from: http://www.thirteen.org/edonline/lessons/whoami/b.html

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1. A MIDNIGHT CRY. Tha’s the name of the book.

2. Don’t let me catch you readin’.

3. Can’t no one stop a body from rememberin’.

4. Please don’t sell me away.

5. Uncle Eli know about these tings. We talk to Uncle Eli.

6. Ain’t no real railroad. We just call it that.

7. You live girl. You be free n’ live.

8. Two hundred dollar reward.

9. Change my name—I couldn’t think what to call myself.

10. All the men and women in our state are free.

11. She I Freedom.

Who SAiD iT?

1. Uncle Eli was willing to risk his life to help lida gain freedom. What does the word freedom mean to you?

2. When lida gained her freedom she had to think of a new name for herself. If you could rename yourself, what would you like be called? Why?

3. Throughout the play, music called African American Spirituals is used to support the storytelling and create the mood. What type of music would you use to tell your story? How does this music support the story of your life?

4. our protagonist lida writes an autobiography and titles it A MIDNIGHT CRY by lida Anderson. If you were to write your autobiography, what would the title be?

PoST-ShoW QueSTioNS

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1. A MIDNIGHT CRY. Tha’s the name of the book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . UNClE ElI

2. Don’t let me catch you readin’. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BUllARD

3. Can’t no one stop a body from rememberin’. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lIDA

4. Please don’t sell me away. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KEElEY

5. Uncle Eli know about these tings. We talk to Uncle Eli. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MAMA

6. Ain’t no real railroad. We just call it that. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . UNClE ElI

7. You live girl. You be free n’ live. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MAMA

8. Two hundred dollar reward. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BUllARD

9. Change my name—I couldn’t think what to call myself . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . lIDA

10. All the men and women in our state are free . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .lAWYER FITCH

11. She I Freedom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . UNClE ElI

Who SAiD iT? ANSWerS