Courtesy of NPR, an excellent article on the newest visitors to refugee children: the Sesame Street Muppets.
We are fascinated by the research process that Sesame Workshop is up to here.
In partnership with the International Rescue Committee, Sesame producers and early-childhood experts are soliciting guidance and feedback from relief organizations, trauma experts, academics and others who have worked with refugees. They’ll also be making research visits to refugee camps in Jordan.
According to the IRC, of the 65 million people displaced from their homes worldwide, more than half are children.
As American readers, steeped in multiculturalism (not to mention as Bay Area readers, used to a high level of diversity), what stood out the most to us, though, was what children might not be taught.
Cairo Arafat, who oversees production of the Arabic language Sesame Street from Abu Dhabi, urged her colleagues not to make assumptions that refugees will share their values such as inclusivity.
“In many of these populations,” she said, “children are still taught, ‘No. Be wary of the people who don’t talk like you, don’t look like you or come from a different sect.’ ” With the special conditions facing refugees — including security issues — Arafat advised careful thinking about what they would like to teach.
Robertson interviewed Wyclef Jean about a new “extended play” or mini collection, from which Wyclef just released the song “Lady Haiti”. In the interview, Wyclef says, “The key here is that it’s important to know where you come from in order to know where you’re going. Haitians have a very important history. Haitian history is tied to all black history.”
The “Second Line Blues” song reflects the current state of gun violence, the senseless loss of life, mass murders, and police brutality in our communities. It pays homage to many who are known and unknown including Emmett Till, Freddie Gray, Trayvon Martin, Michael Brown, Clementa Pinckney, Tywanza Sanders, Amadou Diallo, Sandra Bland, Walter Scott, Susie Jackson, Sean Bell, Tamir Rice, Ethel Lance, Cynthia Hurd, Eric Garner, Myra Thompson, Daniel Simmons, and the mass killings in Sandy Hook, Columbine, Virginia Tech and many more. It is written and performed by founding member, Louise Robinson. It is inspired by the New Orleans tradition of funeral procession. The first line of the band is the procession and the second line of the procession consists of the mourners.
And a classic by Sam Cooke, “A Change is Gonna Come”. More about its history here from the New Yorker.
A quiet song for the end of the week: Mercy Now, by Mary Gauthier.
Yeah, we all could use a little mercy now
I know we don’t deserve it
But we need it anyhow
We hang in the balance
Dangle ‘tween hell and hallowed ground
Every single one of us could use some mercy now
Every single one of us could use some mercy now
We came to this song via a blog post by Parker Palmer at On Being.
We’ve been working on a couple of series lately, and since we editors are slammed in our ordinary lives, it seems like a good day to collect both of those in one giant in-case-you-missed-it post. Enjoy!
We’re still pursuing resources on music that has motivated movements. Continuing past the music of the civil rights era (which we blogged about here) and the Anti-Apartheid movement, here’s a lesson plan from the New York Times: Teaching With Protest Music.
It has overviews and embedded music from the older movements, but also to music from Beyoncé (***Flawless), Pussy Riot, and Los Tigres del Norte. The article also introduced us to Genius, a remarkable lyrics annotation site.
Here are some of the ELA prompts for students:
About the role of music:
Write and Discuss: Why do you listen to music? How does music make you feel? Does music serve a different role in your life depending on your mood, who you are with or what you are doing? Does music ever cause you to think differently, to feel a part of something larger or to want to rise up and take action?
Engaging with a particular song:
Listen and Annotate: Next, listen to ____________, a protest song from the time period we are studying, while reading along with the printed lyrics. As you listen, annotate by underlining, highlighting or writing in the margins — reacting or responding to anything in the lyrics or in the music itself. (You may want to play the song a second time, if it would be helpful.)
About a song the student has selected:
Bring in Contemporary Music That Speaks to an Issue or Era in the Past: What songs today have something to say about the past, whether because people are still struggling with the same issues, or because the lyrics seem symbolic or ironic when seen through the lens of the past?
There are also links to editorials and op-eds written by scholars and musicians: many great resources and jumping-off points!