1. SOUTH AFRICA PART 4

2. BELLWORK: DEFINE TERMS  Creolization: As a result of colonization there was a mixture between people of indigenous, African, and European descent.   Sharpeville Massacre: 60 black Africans murdered while protesting Apartheid legislation.  Portamento glides: when the vocalist falls or slides to the lower pitch on sustained tones.  Re-africanization: to give control of the government back to the Africans; to re- establish African culture.

3. ANNOUNCEMENTS  Test on South Africa Tuesday May 6 th.  Reading Outline #23 due this Thursday, May 1 st.

4. OUTCOMES  Scholars Will:  Grammar: Learn basic facts about South African music  Logic: Learn how to gumboot dance

5. SHARPEVILLE MASSACRE

6. GUIDED NOTES  The growth of the economy just before the apartheid increased communication between ethnic groups  African music is social. All performers submit to the invisible conductor of the collective.  King Kong: the first African Musical with black south African performers, musicians and narrative 1950’s  South Africans are one of the first countries in the world to run a successful multicultural democrary

7. HOW DANCE AND MELODY SHAPE ARE RELATED  Leading tone “lifts the melody back onto the tone center.”  This corresponds to concepts of dissonance and resolution.  This melodic movement corresponds with the raising, dipping and turning the body.  During a dissonant note—a leading tone, the body may turn or dip.  When returning to the tonic, or resolving the chord, the body may be raised.

8. ACTIVE LISTENING #5 AFRICA  Name all the instruments you hear in this track.  In which genre would you classify this song?  What makes this song sound South African?

9. JUST THE FACTS #5 AFRICA  This song represents the brotherhood many South Africans feel for African-Americans and their struggles against racial oppression.  This song is a perfect example of Capetown Jazz.  This song speaks of a longing for Africa and a vision for a new nation. It is prophetic in nature, for when this song was written in the 1980’s there was little hope for change or a bright future.  The vocalist is Sathima Bea Benjamin

10. CFU: LEARN GUMBOOT DANCE

11. INSTRUCTIONAL VIDEOS

12. STEP #1  Hit 1 2 3 4  Then do that 3 times  Hit your knee with your right hand, step first with your right foot.  Note: Hits are very quick.

13. STEP #2  Hit both hands on each thigh, then stamp  Hit stamp Hit stamp 3 4  Do this step 3 times

14. STEP #3  Turn to your right in a circle: “I fly”  Hit Right Left Hit right left hit right clap left  Then turn the other way  Hit right left Hit right left hit right clap left

15. CHARACTERISTICS OF SOUTH AFRICAN MUSICAL LANGUAGE: NAME THREE  Non-verbal utterances  Tonal Language  Words articulate life experience

16. COMMON BELIEFS OF THE ZULU AND TSWANA PEOPLES  A belief in:  the continuing existence between the living and the dead  Healing  Prophecy

17. ZULU PHILOSOPHY  “Man can only become fully human through his relationships with his fellow men”

18. NAME THREE  Characteristics of South African Musical language:   Non-verbal utterances  Tonal Language  Words articulate life experience

19. CFU: CLICK!-VIDEO  Xhosa is a “click” language, related to the Zulu language.  Three different click sounds are used:  1. “c” is a soft click.  2. “q” is a harder click—with the tongue to the sides of the teeth  3. “x” is like the sound of a galloping horse

20. CFU: SOLFEGE CURWEN HAND SIGNS IN SOUTH AFRICA, CHOIRS SING PIECES COMPLETELY IN SOLFEGE BEFORE ADDING ANY WORDS.

21. SIGNING SIMPLE SOLFEGE  Warm-up to sing:  Breathing, Buzz, Vowels  Hand signs first  1. Do Re Mi Re Do  2. Do Re Mi Fa Mi Re Do  3. Do Re Mi Fa So Fa Mi Re Do

22. SKIPPING  1. So Mi Mi  2. So Mi Do  3. So Mi Do Do Do  4. So Fa Mi Re Do

23. SOLFEGE AND MUSIC  Solfege corresponds to written music in the following way:  Do=C  Re=D  Mi=E  Fa=F  So=G  La=A  Ti=B

24. TRANSLATE THIS MUSIC INTO SOLFEGGE  C D E D C  C D E F G A B C  C C E E G G C  C E D E D C

25. GUIDED NOTES  Musical performance often reflected, resisted, or predicted these socio- political changes.  The tempo of most South African music is slow.  Zulu favor types of word distortion regarding syllable length and placement, often elongating certain vowels and stressing syllables on off- beats.  Many Instrumental pieces are transcriptions of vocal pieces.

26. ACTIVE LISTENING #6 GUMBOOT VIDEO  There are 3 types of percussion demonstrated here. They are:  There are 4 types of vocalization here. They are:

27. JUST THE FACTS #6 GUMBOOT VIDEO  Dancers used bottle caps on the bottom of their boots for rattles, or pebbles in shoe polish tins.  The purpose of gumboot dance is to lighten the load of communal labor.

28. EXIT TICKET  Name two common beliefs of the Zulu and Tswana peoples:  How do the Zulu sing words differently than when they speak them?  Name two characteristics of South African Musical language:  What is re-africanization?