Songs, Dances, and Games

Inspired by AFRICA
Arts Express 2018

Jennifer Purdy
jennifer_purdy@byu.edu

The continent of Africa covers 20% of the Earth’s total land area and has a total population of about 1.2 billion.
Historically it included as many as 10,000 different states, kingdoms, or tribes with many variations of rule and politics.
Today Africa is home to 54 countries – each with its own languages and traditions. Africa is the most multilingual continent
in the world.
The climate of Africa varies widely. Its highest peaks are subarctic, the northern regions are primarily desert, and
the central and southern areas are made up of both rainforest and savannah plains. Africa is the hottest continent on earth
with desert land making up 60% of it. Africa has abundant natural resources, a wide variety of wild animal populations,
and 3,000 protected land and marine reserves.
Africa’s art, architecture, culture, and music reflect the beauty, history, and individuality of the people who live in
this diverse and fascinating continent.

senwa Dedende
This is part of a call and
response song from
Ghana called “Pete
Pete” about a vulture
being called home for
dinner. It is in the Twi
language.

1. Clap the rhythm and say the words of the first 2 6. Sing in place as a 4-part round with groups entering
measures. T (Teacher) sings the entire song as S every 2 beats.
(students) listen for the number of times they hear that
same rhythm. 7. On the second, fourth, and last measures, add body
percussion (BP) as taught by Salvo Russo as follows:
2. T sings again as S clap the rhythm of the first 2
measures every time it occurs.

3. S form a circle. T sings the song as S step to a steady

beat around the circle.

4. All sing the song in unison. T makes any corrections Stomp the beat through remaining measures while
needed for accurate melody, pitch, and rhythm. singing.

5. All sing while performing this simple 8-bar circle 8. Try this performance sequence:
dance: 1-2 Walk around the circle on the beat for 2  sing in unison
measures with students putting their hand on the  sing in canon
shoulder of the person in front of them. 3-4 All turn and  do only BP in canon (audiate or softly hum)
walk the other way for two measures with hands on  sing in canon with varying dynamics
shoulders as before. 5-8 Face center, join hands, and  end with all singing slowly in unison and the
step in for one measure, step back one measure, slowly final chord sung in harmony
drop hands and stand in place for last two measures.

Educators are welcome to share these lesson plans for classroom use only, but please give credit to Jennifer Purdy.
 OBWISANA
(music and some lesson ideas from the USBE Elementary Songbook)

7. Now add a tap with the sticks. S pick up the

The Akan words to this stone-passing game are
“The rock has crushed my hand, Grandma. The rock has
crushed my hand.” It assures children that someone will
always be there to take care of them.
The game is about cooperation. The purpose is
for everyone to have success. If one person makes a mistake,
then everyone works to help that child be successful.
Consider the difference between the way children in Ghana
think about playing games, and the way American children
usually play a game until the best one wins.
1. T sings the song. S listen for 2 phrases – same or
different words/rhythm in each phrase? (same)
2. T sings the song again. S listen for the note at the end
of each phrase (2 bars) and show palm up or palm
down if the note goes up or down.
stick on one beat, tap it in front of themselves
on the next beat, and place it in front of the
person to the R on the following beat. This can
be tricky because the song is in a pattern of
two beats, and this stick-passing sequence
uses a pattern of three beats.
8. If your students would like to be challenged with
another variation, have them put their R hands behind
their backs and do the whole thing with their L hands,
passing to the L.
NOTE: Shoes, yarn balls, crumpled pieces of scrap paper,
and of course rocks can be used to play this passing game.
However, sticks make a nice rewarding sound on the beat
and help keep everyone together.

3. Explain the meaning of the words and the origin of

the song. S practice saying “Obwisana” (The rock
crushed my hand) with different inflections -- hurt,
angry, sad, whining, scared, laughing.

4. All sit in a circle. S put their L hand behind their back

or under their L leg. Each holds a stick in their R hands.
S softly tap the stick on the floor to a steady beat as T
sings the song. T encourages S to join when they feel
they can sing along. T makes corrections to rhythm and
melody as needed.

5. To a steady beat, S practice grabbing their stick and

placing gently it in front of the person to their R. Saying
“lift, drop” or “grab, pass” will help some students be
more successful at this. S listen to the sound the sticks
make as they are placed all at the same time on the beat.

6. Now all sing the song and pass the sticks at the same
time to a steady beat. You could also try this to the
USBE Elementary Songbook recording.
(http://stream.schools.utah.gov/videoarchive/faa2/Track15.
mp3)

Educators are welcome to share these lesson plans for classroom use only, but please give credit to Jennifer Purdy.
 Nginani Na
(as sung by Miriam Makeba)

This call and response song is from South

Africa. Sangoma is a Zulu term for a South African
traditional healer, often one who channels the ancestral
spirits who advise the living. Miriam Makeba included
this song on her album titled “Sangoma.” According to
the liner notes of her album, Makeba explains that in this
song a person is being treated by a healer and asking
“Nginani na” – “What sickness do I have?”
In the lyrics the initial “n” in words such as
ndiya and nginani are silent, and the “g” is pronounced
“dg” as in the word judge.

Call: Response: (2nd time)

Wah - mah-maze Oon go - mah–ah Dee-yah goo-la Dgee-na - nee Na

Call: Response: (2nd time)

nay lo -ko Dee-nay lah-bah. Di -yah goo-la Dgee-na - nee Na

All:

Di - yah goo - la Dgee - na - nee Na

Listen to the Miriam Makeba recording. Notice the
simple percussion accompaniment. Make your own
version of this accompaniment or create something
new. One interesting effect is to stomp and/or clap on
the last beat of each phrase and the first beat of the next
phrase as in the recording.
The simplest way to teach this song is to teach S the
response part only, since the response is always the
same. Teach the harmony parts in solfege or by rote.
Encourage S to sing the part that feels best for their
voices.
This song is included in the book and CD Jazz it Up! by
Susie Davies-Splitter and Phil Splitter.

Educators are welcome to share these lesson plans for classroom use only, but please give credit to Jennifer Purdy.
 PATA PATA
(sung by Miriam Makeba)

Here’s another Miriam Makeba classic A.

from South Africa. There are many
variations of these dance steps, but
these are the ones I use.
Touch R out to side (arms out to sides with snaps)
Touch R next to L foot
Touch R out to side (arms out to sides with snaps)
Step R
Touch L out to side (arms out to sides with snaps)
Touch L next to R foot
Touch L out to side (arms out to sides with snaps)
Step L

B.
Toes out (raise arms in front, elbows in)
Heels out (lower arms)
Heels in (raise arms in front, elbows in)
Toes in (lower arms)

(Repeat B)

C.
R knee up
R toe touch
R knee up
R step next to L
L kick
L kick
Jump ¼ turn clockwise
Clap

BANUWA

Educators are welcome to share these lesson plans for classroom use only, but please give credit to Jennifer Purdy.
 This is referenced as a Liberian love song, lullaby,
or processional. I’m not sure how culturally authentic it is –
the words supposedly translate to “Don’t cry pretty little
girl, don’t cry” – but I’ve never been able to find what the
original language or dialect is. Nevertheless, it is a really
enjoyable song.
I have seen many different and wonderful ways to
sing, play, and perform this song. Use the creativity and the
strengths of your students to design your favorite way!

This song is most effective when the parts are layered in

one at a time. Here are some ideas to start:
 Try this Orff arrangement in the key of C. Try
 The groups enter the space one at a time, variations of layering with and without vocal parts and
singing their part as they enter then joining the others. non-pitched percussion.

 Each group creates a hand/arm movement

and does it together as they sing their part. It is
beautiful to watch the movements grow as the parts
layer in.
 Create a non-pitched percussion rhythm
using djembes, gangokui or agogo bells, claves.
Introduce one vocal part, play the non-pitched
percussion part, layer in the next vocal part, play the
non-pitched percussion part, etc. until all are playing
and singing at the same time. The percussion parts may
be more simple while the singers are singing and more
complex during the percussion-only parts.

Throw-Catch
transcription, notes, and variations
by Jennifer Purdy

Educators are welcome to share these lesson plans for classroom use only, but please give credit to Jennifer Purdy.
 Throw-Catch is referenced as a song from South
Africa, but it may have been created by an
Englishman living in South Africa. Its syncopated
rhythms and easy harmonies make it fun to sing with
elementary students.

Sing "throw" and "catch" as a call-response between two VARIATIONS:

groups facing one another. Group 1 does a throwing
movement and Group 2 performs a catching movement as
they sing those words.
"Jikeleza" (jee - keh - leh - zuh) is Xhosa for "turn
around".
Harmony parts are optional. May add another harmony part
a third above the melody on "jikeleza".
The chord progression for pitched percussion instruments is
G, C, G, D with the chords changing each measure or four
beats.
1. The two groups throw and catch imaginary balls. One
group sings when throwing, the other sings when catching.
all sing “jikeleza” and the chorus.
2. Create new words and movements in place of “throw”,
“catch”, and “jikeleza”.
Example 1: snow, ball, wintertime fun
Example 2: autumn, time, leaves are falling
Example 3: Merry, Christmas, happy new year

MUSIC CORE STANDARDS SOCIAL STUDIES CORE STANDARDS

Create: K.1 Explain elements of culture.

Improvise rhythmic patterns and musical ideas.
Combine and/or sequence rhythmic and melodic ideas.
Evaluate and refine work and present final version of created music.
Perform:
Explore effects of various dynamic levels, tempos, and articulations.
Sing folk, traditional, and call-and-response songs in tune, with good
vocal tone.
Respond to visual representations of melodic contour and melody
patterns.
Perform two- and three-part rounds, layered rhythmic or melodic
ostinatos, and parallel harmony.
Perform and identify rhythm patterns in two-, four-, and six-beat
meters using body percussion, voice, and simple instruments.
Develop persistence and cooperation in refining performance pieces.
Perform music with expression, technical accuracy and appropriate
interpretation; watch and respond to the conductor to perform dynamics,
style, and phrasing, and start, stop, and stay together; and demonstrate
performance decorum.
Respond:
Listen to and interact with a variety of contrasting music.
Listen for and identify form, meter, rhythm, timbre, dynamics, tempo,
melody, texture, and harmony/tonality.
Identify music elements that are characteristic of different genres of
music.
Connect:
Describe how music relates to personal, social, emotional, and
intellectual development.
Use life experience and additional content knowledge to inspire and
respond to music and deepen understanding of another content area
through music.
Experience and explore music which connects us to history, culture,
heritage, and community; identify connections between a music genre
and cultural or historical contexts.
K.3, 1.3, 2.3 Use geographic terms and tools.
1.1 Share stories, folk tales, art, music, and dance inherent in
community traditions.
2.1 Examine and identify culture.
3.1 Understand how geography influences community.
4.2 Explore points of view about life in Utah from a variety of cultural
groups. Explore cultural influences.
5.1 Assess the global impact of cultural and economic impacts that
occurred as a result of trade between North America and other markets
(expansion of the slave trade). Compare varying degrees of freedom
held by different groups.
5.4 Assess the geographic, cultural, political, and economic divisions
between regions that contributed to the Civil War.
5.5 Describe the role of the United States during World War I and World
War II. Identify leaders of social and political movements. Identify a
current issue facing the world and propose a role the United States
could play in being part of a solution.
6.1. Understand how ancient civilizations developed and how they
contributed to the current state of the world.
6.3 Analyze the impact of revolutions.
6.4 Understand current global issues and their rights and responsibilities
in the interconnected world.

Educators are welcome to share these lesson plans for classroom use only, but please give credit to Jennifer Purdy.