Music and Dance Links // Folk Music Webring

One of the most successful techniques I have discovered in teaching history has been the use of music and dance. As an instructor in several community colleges, I have found it to be successful with all types of student populations. The only problem with it is that it takes a bit of nerve on the part of the teacher.

My experience and that of several fellow instructors who have used music and dance has been that at first it may go pretty slow. Getting students to volunteer to get up in front of the class takes some effort. However, after trying it several semesters, we have found that more and more students show interest. I have concluded that this must have more to do with presentation than the students. After trying different songs and dances, teachers can find out what appeals to their students.

One issue, although I have not had this happen, will be religious beliefs that do not allow dancing in particular. Because of this, teachers must first evaluate how much of a problem this will be in their school. Second, if you decide to go ahead with using music and dance, there must be an alternative activity for those who either cannot participate or will not participate. My newest strategy to deal with this is the development of a "Song and Dance Analysis Worksheet." Actually, I was also trying to discourage some participation which may sound strange, but as word of the activities spread through the school, I discovered that students know what is coming and have no inhibitions. The activities have gotten so popular that I have too many students wanting to be involved. I thought some might prefer the Worksheets, an idea I "borrowed" from the National Archives exercises. So far, however, the "Worksheets" have not discouraged many students, and my main problem is still space for everyone and the noise. Students may get pretty noisy, but it's out of excitement.

I have experimented with how to grade this over the years. I assure you, they will not do these exercises unless they get something for the effort. At first, I used these activities as bonus point exercises. That proved to be undesirable when I began to use more and more music and dance activities. It tended to inflate grades. In addition, those who could not or would not participate were at a disadvantage.

More recently, I have developed an "Exercise" grade as part of the required grades each semester. This includes the singing and dancing, but it also includes such things as reading aloud in class, textbook exercises, creative opportunities such as drawings, short research projects and similar options. This seems to working quite well. Degree of difficulty of each option is as equal as I can make it. The students who do not participate in the singing and dancing seem content. At any rate, no one has complained about it yet.

After I first published this article, I received a couple of e-mail messages asking how I fit the music and dance into the overall coursework and how I developed critical thinking skills along with the music and dance. First, I want to assure everyone that music and dance is just a small part of what we do in class. These exercises are always part of a larger study. Since my students have to write lots of essays each semester, the music and dance is a part of these assignments. I have added some comments in the overall outline of music and dance that I use to clarify this.

I found most of the music I use at a local library. A few were found in antique stores. Students have provided a couple of songs while more recent recordings by folk singers often have renditions of old songs. In this article, I have included links to appropriate MIDI files. After years of trial and error, here are the songs and dances I currently have in my plans for U.S. History:

• Native American - I have several songs and a couple of basic dances from which the students may choose. See Myth, Music and Dance of the American Indian by Ruth De Cesare. Recently, I have begun using contemporary Native American music for the dance which is just the basic "toe-heel" step. Students seem to like this music, and it gives us an opportunity to recognize the continuing influences of Native American music in our culture.
• Traditional African - I am fortunate that I have many African students, so I obtained tapes of Ibo and Yoruba music from them and got them to teach me a couple of simple dances. However, I usually can get an African student to teach a new one to the other students. I also have a video tape of traditional African dance, and I show a brief excerpt. I introduce it by saying it's a film of last semester's students. When the film begins, everyone gets a good laugh since the dancers are extremely accomplished and in costume.
• Renaissance European - I play excerpts of several songs that illustrate religious music in Europe during the era of exploration, and I also have a tape of a harpsichord tune. For dance, we discuss the ballet, and I did have one volunteer student to demonstrate although that has been a rare experience. Instead, we do folk dancing. The flings of Ireland and Scotland are fun. The recent popularity of "Riverdance" seems to inspire students. Students of all ethnic backgrounds appreciate the skill demonstrated by these dancers. I generally play a brief video excerpt and tell students this is an example of what we are going to do. After a good laugh, we do a very simplified version. NOTE: Generally, students must deal with a rather long essay that includes our studies about Native American, African and Renaissance European cultures. Usually, it is something such as what did you admire/not admire about each of these cultures. Often, music and dance are specific examples that they give. Also, I ask the question as to how they think each of these three types of music has affected today's music with specific examples.
• Colonial America - While discussing life in the southern colonies, we listen to "Cotton-Eyed Joe," a slave song familiar to most students. But, I explain that the aristocrats of the South tended to try to copy European styles. With this, I introduce "The Minuet." Students find this relatively easy to do and comment that they wonder why Virginians and others found this to fun.

  While discussing life in the New England colonies, we don't dance since it doesn't seem to have been something Puritans enjoyed. But, we do listen to a children's song, "A Frog He Would A-Wooing Go," that the students usually sing after hearing a couple of choruses. We also play "The Farmer in the Dell." This is a game most students know and they are amazed that it is so old. NOTE: Students generally write essays comparing life in the southern, New England and Middle Colonies with an opinion regarding which area they would have preferred. Another interesting approach has been to have them write an advertisement trying to encourage colonization and an editorial trying to discourage colonization. They may use music and dance as specific examples.

• The American Revolution - We sing an old version of "Yankee Doodle." See My Handouts.

• The New Republic - To demonstrate how Americans were being more "Americanized" and moving away from European styles, we dance the Virginia Reel which is one of the funniest things to watch students try. I got instructions for it from the newsgroup on folk dancing.

• War of 1812 - Students sing the "Star-Spangled Banner" (see USA History Site) and listen to the song "Battle of New Orleans" which is a more recent description of a historical event, but it is a good way to describe the what happened.

• Era of Good Feelings - We dance the waltz. It seems to fit the topic since it was considered the "dirty dancing" of the era.
• Industrial Revolution - We do the polka as an example of how immigration affected music and dance. Students find this dance very difficult. We also sing some Stephen Foster songs that they choose.
• Mexican War Era/Hispanic Influences - We listen to excerpts of several traditional Mexican songs including "La Bamba" and others that demonstrate various musical instruments such as the marimba. We dance La Raspa (we used to call it the Mexican Hat Dance). NOTE: Generally, students answer a question regarding how Hispanic culture has affected U.S. culture in general as well as how the Mexican War affected Hispanics.
• 19th Century Life - We listen to the music of the Shakers and do a Shaker Dance. I also obtained instructions from the folk dancing newsgroup.

  In addition, we listen to a temperance song, "Who'll Buy," as well as several slave songs recorded on the Georgia Sea Islands where African-American culture has been preserved to some degree due to the isolation of these descendents of slaves.

  During our discussion of the movement west, the students read a play that I wrote using the diaries of women pioneers. The play recreates the overland journey to the west. At one point, there is a campfire sing-a-long, and they sing "She'll Be Coming Round the Mountain" or "Amazing Grace". NOTE: Generally students write an essay describing life in the 19th century with specifics regarding women, minorities and pioneers. They have some sort of opinion component such as was life getting better or worse. Music and dance may be used again as specific examples.

• The Civil War - We sing several relevant songs including "John Brown's Body," "When Johnny Comes Marching Home," and "America."

• Reconstruction - We listen to "I'm a Good Old Rebel" and discuss all the things this ex-rebel hates and how that affected reconciliation. NOTE: Students must answer a question about Reconstruction in general. I especially like to ask them about the different ways southerners, black and white, reacted. This song serves as an example of one response, but the key to the question is to encourage students not to overgeneralize. They also evaluate whether or not Reconstruction was successful.

Since I teach college, this ends the first semester of U.S. history. The second semester goes like this:

• Dallas and Texas History - This is an introductory section. We sing "The Yellow Rose of Texas."
• The West - We sing "Home on the Range" and square dance, another hilarious experience. NOTE: This is part of a larger discussion about women in the West. They write an essay explaining how the West affected women and how women affected the West with dances being an example.
• The Rural South - We sing "Hush Little Baby" (MIDI and Words) and/or "Skip to My Lou" (MIDI and Words).
• Industrial Revolution - Students sing "I've Been Working on the Railroad."
• Late 19th Century/Turn of the Century - We listen to several tunes including samples of Scott Joplin's ragtime and John Philip Sousa, Hispanic cowboy songs, barbershop quartet, and post-Civil War minstrel music. The students came up with the idea to march to Sousa since many are former band members. They really love this. We also do a later version of the waltz, the Boston Dip as well as the Two-Step. I also show them the Galop and discuss the Cake Walk of this era and explain it's origins in the African-American community and similarity to "break dancing" since it was a "showing off" type dance. NOTE: Students answer an essay question regarding life in the late 19th century in general. I have many of these, but my favorite is to explain how the late 19th century was both the best of times and the worst of times. Again, music and dance can be used as specific examples.
• Foreign Policy - We Hula. I learned from a video I purchased over the internet. We also sing "America the Beautiful" (words and MIDI). See also this site about "American the Beautiful".
• Progressive Era - Students sing "The Eyes of Texas" as an example of a protest song. (Since I'm in Texas, all the students know this as the University of Texas school song but are surprised to learn it was a protest song.) We dance "Ballin' the Jack," a simple one but fun.
• World War I - We sing "Mademoiselle from Armetieres."
• Post-World War I (I do a short section on 1919) - We Tango. This gives us an opportunity to discuss Latin influences in the U.S.
• 1919 - We Tango. This is a great introduction to growing Latino influences in U.S. music and dance.
• 1920s - We listen to several excerpts of Harlem Renaissance music including Count Basie, Ella Fitzgerald, Louis Armstrong, Bessie Smith, "Ma" Rainey and Ethel Waters. And, of course, we do the Charleston which the students really like. NOTE: Again, students are asked to write essays describing the 1920s and how it affected people. I especially like to separate youth, women and African-Americans. Then they can evaluate who benefitted from changes and who did not.
• 1930s - We listen to several excerpts of Latino music that was very popular in the 1930s and performed by both Latino and non-Latino musicians. We dance the Conga line. Students also hear excerpts from Big Band and other popular 30s music including Nelson Eddy and Jeannette McDonald, Tommy Dorsey and Lena Horne. NOTE: Students are asked to describe what happened to Latinos in the 1930s including both increased anti-immigrant feelings and the Latino fad. They evaluate the results of this for Latinos and culture in general.

  We also listen to Huey P. Long's "Every Man a King," a version of which can be found on Randy Newman's Good Old Boys album. I also show a great video excerpt about the Dust Bowl that has Woody Guthrie singing "This Old Dust Storm" in the background. This is an excellent video in general. It is entitled "Brother Can You Spare a Dime." I like it because it is just a series of small clips about innumerable topics relating to the 1930s. It is very easy to show just a few minutes rather than a whole film. Students don't have time to lose interest. We also sing another Guthrie song, "This Land Is Your Land." In addition, we sing "We Shall Not Be Moved" as an example of a labor song.

• World War II - We sing "The Caissons Go Rolling Along."

• Post-War Era - We play "Name that Tune" as a class exercise (everyone tries together) with a variety of selections that include rock, country, and even Perry Como. They don't know many of them except Elvis and Patsy Cline. I tell them it's practice for the next "Name that Tune," the 1960s. We do this for no points, but they do get points for dancing the Stroll. Now, baby-boomers know that dance, but the students do not, and they find it very difficult. But, tell them to line up "Soul Train" style, and they know exactly what you mean!
• 1960s - Again, we play "Name that Tune" as a class exercise. Since I teach in community college, I usually have older students who know the music better than the younger ones. At the same time, it is surprising how many 60s songs and musicians the youngsters know. For example, absolutely everyone knows Sonny & Cher. I'm not sure why, but that's my observation. Others they known include Jimi Hendrix, Marvin Gaye, the Beatles, the Rolling Stones, Aretha Franklin, Santana and the Supremes. We also dance the Twist. NOTE: Students describe the changes in music in the 1950s & 60s. They must analyze how it reflected and affected culture in general, how it influenced today's music, and choose some personal favorites.
• Since the 1960s - Frankly, I always run out of time at this point and have to hurry because I feel it's important to cover Vietnam and Watergate plus an overview of the 1980s. However, once and awhile students volunteer to put together their own "Name that Tune." That is very satisfying for me to see they actually understand what I'm trying to do. Last semester, I asked students to bring a favorite song from the 1970s, 80s, or 90s. Then, I put together a tape of excerpts and let them name the tunes. Nice way to wrap-up the semester.

If you have suggestions or comments, e-mail us at the address at the bottom of this page. I am in the process of putting my complete History Handouts onlines. This includes other activities aside from music such as poetry readings, excerpts to read in class from letters, journals, and interesting short readings from resources other than their textbook. Eventually, I hope to have a complete outline of the history courses offered at El Centro College that will include links, exercises, handouts, and any other relevant information to assist you in your teaching goals. Thanks for visiting our pages and please feel free to e-mail El Centro College's History Department.

Music and Dance Links
Texas Music and Dance Page // Music Around the World
Dance Around the World
Music History 102 // The History of the Power of Dance
The Waltz
MIDI for Ballroom Dancing // The Acdemy of Digital Music: Classical
Dancetv.com // Western Social Dance
Dance Instruction Manuals, 1600-1920 // The Dance Card Museum
Folk Dance - Los Viejos Directions
Sources for Indian Music
Etiquette for the Ball Room // Victorian Dancing Etiquette
Sing It Again! // HPD's Nursery Rhymes & Music Page
KIDiddles: Song Lyrics
American Folklife Center: Endangered Music Project Recordings
American Folksongs // Stephen Foster Collection // Song Database - Multicultural Pavilion
Folk Music Web Ring // Music Search
My Culture Online Page - Music, Dance, Museums, Architecture, Art, Anthropology, Archaeology, etc.
Texas Music and Dance
Dance Glossary
Harry's Blues Lyrics Online // The Mudcat Cafe
Lyrics World // Ultimate '80s Songs
BBHQ: Music Room Lyrics
Dance Online // Voice of Dance // Dance Magazine
I Hear America Singing
Mixed Pickles - Outline of Early 20th Century Dance
Mixed Pickles - Outline of 19th Century Dance
American Music Archives // Lyrics
Mudcat Cafe: A Magazine Devoted to Blues and Folk Music
Folk Music of England, Scotland, Ireland, Wales, and America
Patriotic Songs (American) // Socialist Songs
Folk Music, Communism, and the Red Scare // Songs and Chants to Picket By

---

---

Page created by: wej5475@dcccd.edu
Visitors = This page accessed times.