Advancing Interdisciplinary Research in Singing The AIRS Quadcultural Songbook: Brazil, Canada, China, and Kenya Edited by Lily Chen-Hafteck, Nancy Gleason & Robert Anderson Kean University, NJ, USA © 2012 University of Prince Edward Island 550 University Avenue, Charlottetown, PE, CIA 4P3, Canada Advancing Interdisciplinary Research in Singing (AIRS) Subtheme 3.1 International Project on Cultural Understanding Research Team Members USA  Lily Chen-Hafteck, Kean University – Project Leader  Patricia Shehan Campbell, University of Washington – Honorary Advisor  Nancy Gleason, Kean University – Administrative Assistant  Robert Anderson, Kean University – Administrative Assistant Brazil  Zuraida Abud Bastião, Federal University of Bahia  Angelita Broock, Federal University of Bahia  Beatriz Ilari, University of Southern California  Alda de Jesus Oliveira, Federal University of Bahia Canada  Carol Beynon, University of Western Ontario, London  Jennifer Beynon-Martinec, University of Western Ontario, London  Annabel Cohen, University of Prince Edward Island  Kelly Gillis, University of Prince Edward Island  Arla Good, Ryerson University, Toronto  Frank Russo, Ryerson University, Toronto China  Bing-Yi Pan, University of Prince Edward Island  Yue Xiao, China Conservatory of Music  Jiaxing Xie, China Conservatory of Music Kenya  Elizabeth Andang‘o, Kenyatta University  Moses Wekesa Maneno, Kenyatta University  Raphael Oduor, Kenyatta University      Acknowledgements The AIRS Project is supported by the Social Sciences and Humanities Research Council of Canada's (SSHRC) Major Collaborative Initiative Program (MCRI). The AIRS International Project on Cultural Understanding would not have been realized without the vision and support of the AIRS Project Director, Dr. Annabel Cohen. The travel awards provided by AIRS to deserving student representatives from each of the four countries to meet in person for a workshop led by Lily Chen-Hafteck in Newfoundland during the AIRS 3rd Annual Meeting are also greatly appreciated. Special thanks are due to Drs. Ki Adams, Carol Beynon, Mary Kennedy, Joan Russell and Katherine Smithrim for their advice and assistance in the Canadian song materials. Special thanks are also due to Angelita Broock and Yue Xiao for translation of the songbook materials to Portuguese and Chinese. We gratefully acknowledge the teachers and their students who participated in making the demonstration videos: Alda de Jesus Oliveira, Ana Luiza Tomich, Angelita Maria Vander Broock Schultz, Kamile Santos Levek, Roseane Ramos Mota, Zuraida Abud Bastião, and the students at Extension Course of UFBA (Brazil); Rosemary Bannerman and students, Wilfrid Jury Public School, London, Ontario, and Syndi MacAulay and the St. Pius X Children‘s Choir and Parish for use of their facilities & equipment (Canada); Zhitong Han and Jun Xu, Yucai School, and Yongfeng Deng, Taoxinzhuang Primary School and students (China); Mrs. Alice Gichiri and students, from Kenyatta University Primary School (Kenya). We also thank Jamary Oliveira‘s technical support, Felipe, Henrique and Sarah Barros Oliveira for singing in the audio-recording of the Brazilian songs. AIRS Website: http://www.airsplace.ca/ TABLE OF CONTENTS Preface …………………………………………………………………………………………………….... 1 Annabel Cohen Introduction ………………………………………………………………………………………………… 3 Lily Chen-Hafteck Section 1: BRAZIL ………………………………………………………………………………………… 4 Alda Jesus de Oliveira & Beatriz Ilari Background …………………………………………………………………………………………………… 5 Songs ……………………………………………………………………………………………….………… 13 Section 2: CANADA ……………………………………………………………………………………….. 22 Arla Good, Kelly Gillis & Jennifer Beynon-Martinec Background…………………………………………………………………………………………………… 23 Songs…………………………………………………………………...……………………………………… 29 Section 3: CHINA ………………………………………………………………………………………….. 37 Bing-Yi Pan Background………………………………………………………………………………………….………… 38 Songs…………………………………………………………………...……………………………………… 53 Section 4: KENYA …………………………………………………………………………………………. 64 Elizabeth A. Andang‘o Background………………………………………………………………………………………….………… 65 Songs…………………………………………………………………...……………………………………… 77 Biographies ………………………………………………………………………………………………… 84 List of Songs ……………………………………………………………………………………………...… 87 PREFACE The AIRS Quadcultural Songbook: Brazil, Canada, China and Kenya offers the unique educational opportunity of sharing songs of four different cultures with children of those same four cultures. Compiled by Dr. Lily Chen-Hafteck, the book goes far beyond learning the songs. It arose as one ambitious part of an even larger research initiative called Advancing Interdisciplinary Research in Singing, known as AIRS. As the Director of AIRS, it makes sense then for me to briefly place the Songbook in the context of the AIRS objectives. AIRS is a seven-year major collaborative research initiative that aims to Advance Interdisciplinary Research in Singing through cooperation of over 70 researchers representing every province in Canada and more than a dozen other countries on six continents. Researchers are sharing their knowledge and expertise from numerous disciplinary perspectives, including sociology, ethnomusicology, psychology, musicology, music therapy, education, anthropology, folklore, medicine, and audio and computer engineering. Aiming to understand individual, cultural, and universal influences on singing and the influences of singing on individuals and societies, the AIRS researchers are focusing on three themes: (1) development of singing ability (2) singing and learning, and (3) enhancement of well-being and health through singing. The AIRS Quadcultural Songbook project relates primarily to themes 2 and 3 as it focuses on both learning about other cultures through song, and about the societal benefits arising through learning of foreign songs. The research results of the entire AIRS project are being disseminated through traditional academic means (scholarly journals, books, and conferences) and through activities, settings and tools (school curricula, homes for seniors, medical interventions, performances, and textbooks). Such dissemination aims to provide a foundation for decision making in education, health, culture, immigration, and foreign policy. This new volume, the AIRS Quadcultural Songbook, reflects a success of the dissemination plan, and just three years into the project. A project of the scope of AIRS requires substantial and long-term funding. The opportunity for both arose several years ago through the Social Sciences and Humanities Research Council of Canada's (SSHRC) Major Collaborative Initiative Program (MCRI). Previous large-scale projects at the University of Prince Edward Island had provided the facilities and experience needed to embark on a study of singing in all its dimensions. As mentioned above, one important focus of the project was that of enhancement of well-being through singing. Well-being, broadly defined, includes having a place in one‘s community and having friends. The AIRS project looks for ways in which the simple act of singing might improve such opportunities, bringing about well-being early in life that may have long lasting impact. Attitudes are often formed during childhood. What is learned in childhood provides the foundation for all future learning. Negative attitudes formed early on may be very hard to change later in life. It has been documented that learning the songs and music of a foreign culture can help children feel more favorably toward people from that culture (Sousa, Neto, & Mullet, 2005; Chen-Hafteck, 2007). Learning songs is enjoyable for children, and if songs can foster human understanding and friendships, then educators, governments, and families should know about it. This is the rationale for the present AIRS project on singing and cross-cultural understanding. AIRS Songbook, English, January 2012 Page|1 I am thrilled to have a special person, Dr. Lily-Chen Hafteck, as the leader of this challenging study. She is an extraordinary educator and also a highly regarded researcher specializing in music education, and she is comfortable in international settings. Of Chinese origin herself, she has lived in China, South Africa, Mozambique, England, and now in the USA. She has been active in the executive of the International Society for Music Education and has conducted preliminary work on promoting cultural understanding through singing in New York schools. What an honor it is then to provide prefatory remarks for this outstanding compilation. Much is unknown about how songs and singing styles are absorbed into a culture, and how new songs can be acquired. Even less is known about how songs of cultures other than one‘s own can have a positive influence on creating feelings of warm understanding toward that new culture. This unique collection of songs from the AIRS Quadcultural Songbook provides a foundation for much discovery about this process. Individually, each song opens a window on the world of a particular culture. Through these windows of song, children from one culture can share their lives, customs, and feelings with children of other cultures. I look forward to valuable information that comes from this ambitious original project that Dr. Chen-Hafteck is leading. I heartily thank all contributors to the volume and encourage them in their continuing research that links singing to cross-cultural understanding. I am also appreciative of the support of the University of Prince Edward Island, the Office of Research Development, the Faculty of Arts, my own Department of Psychology for efforts on behalf of the AIRS project, and all researchers, faculty, students and staff alike involved in the AIRS project. The AIRS project is deeply indebted to the Social Sciences and Humanities Research Council for its support. The last words of acknowledgement and praise, however, go to Dr. Chen-Hafteck for her focused efforts to bring this songbook to fruition, for seeing the promise of this volume, and the potential of the AIRS project and its associated students and collaborators. Annabel J. Cohen, PhD, ARCT Director and Principal Investigator of AIRS SSHRC MCRI Advancing Interdisciplinary Research in Singing June, 2011, University of Prince Edward Island References Chen-Hafteck, L. (2007). Contextual analyses of children's responses to an integrated Chinese music and culture experience. Music Education Research, 9 (3), 337-353. Sousa, M. D. R., Neto, F. & Mullet, E. (2005). Can music change ethnic attitudes among children? Psychology of Music, 33 (3), 304-316. AIRS Songbook, English, January 2012 Page|2 INTRODUCTION The AIRS Quadcultural Songbook: Brazil, Canada, China, and Kenya was compiled for the AIRS International Project on Cultural Understanding. It includes the song materials and cultural information that children will learn in connection with the project. Twenty-four songs from four countries—all of which carefully selected for their value in teaching children about the four cultures—are included. It is a joint effort of Dr. Elizabeth Andang‘o, Ms. Jennifer Beynon-Martinec, Ms. Kelly Gillis, Ms. Arla Good, Dr. Beatriz Ilari, Dr. Alda de Jesus Oliviera and Dr. Bingyi Pan, members of the research team coming from these cultures. We greatly appreciate their generosity and their sharing of knowledge and expertise for the benefit of the children and the project. Advancing Interdisciplinary Research in Singing (AIRS) is a major collaborative research initiative funded by the Social Science and Humanities Research Council of Canada (SSHRC) under the direction of Dr. Annabel Cohen, Professor at the University of Prince Edward Island, Charlottetown, Canada. As one of the AIRS co-investigators and team leaders, I have initiated this International Project on Cultural Understanding under AIRS Subtheme 3.1 to examine how singing can promote cultural understanding. Children from the aforementioned countries, namely Brazil, Canada, China and Kenya, will participate in the research project. Over the span of 12 weeks, they will learn six traditional songs from each country, a total of 24 songs, together with background information about the songs and cultures. Teaching materials including the songbook, PowerPoint slides, demonstration videos and audio recordings will be provided to the teachers. Two schools in each country and two classes of children from each, ages 10 and 11, will participate. One class will learn both the cultural information and songs while the other class will only learn the cultural information. Children will respond to a questionnaire before and after the study to assess their attitude towards the people from the four countries. Teachers will be asked to write a report on their observations on the lessons and the children‘s responses. Some lessons will be observed and video-recorded by the student-researchers. Finally, there will be an interview for the children to express their opinion on the project. This project is a collaboration of many international researchers. I am grateful to have the assistance of Dr. Alda de Jesus Oliviera and her students Angelita Broock and Zuraida Abud Bastião at the Federal University of Bahia (Brazil); Dr. Annabel Cohen and her student Kelly Gillis at the University of Prince Edward Island and Dr. Frank Russo and his student Arla Good at Ryerson University (Canada); Dr. Jiaxing Xie and his student Yue Xiao at the China Conservatory of Music (China); and Dr. Elizabeth Andang‘o and her students Moses Wekesa Maneno and Raphael Oduor at Kenyatta University (Kenya) in coordinating the field work in the four countries. In addition, I must thank my two assistants, Nancy Gleason and Robert Anderson at Kean University (USA), who have worked tirelessly and spent countless hours to assist me in compiling the teaching materials. This study, which crosses geographic borders encompassing countries from four continents, would not be possible without the dedication and hard work of each of these individuals. Last but not least, all the children, teachers, principals and administrators who will participate in the project also must be commended. There is much that we, as educational researchers, need to learn from them about teaching and learning. On behalf of our research team, I thank them for their support of research and educational advancement. Lily Chen-Hafteck, Ph.D. Project Leader, AIRS International Project on Cultural Understanding January 2012, Kean University, NJ, USA AIRS Songbook, English, January 2012 Page|3 BRAZIL Compiled by Alda Jesus de Oliveira, Federal University of Bahia, Brazil Beatriz Ilari, University of Southern California, USA AIRS Songbook, English, January 2012 Page|4 BACKGROUND This is the flag of Brazil. Green and yellow are the colors of the country. Brazil is the largest country in South America. It is bounded by the Atlantic Ocean on the east side and by most South American countries except for Ecuador and Chile. Fig. 1: Map of Brazil and vicinity Brazilian Regions, States and Capitals North State Regions Capital city Acre Rio Branco Amazonas Manaus Pará Belém Roraima Boa Vista Rondônia Porto Velho Amapá Macapá Tocantins Palma Northeast State Regions Capital city Maranhão São Luís Piauí Teresina Ceará Fortaleza Rio Grande Natal do Norte Paraíba João Pessoa Pernambuco Recife Alagoas Maceió Sergipe Aracajú Bahia Salvador Midwest State Regions Capital city Mato Grosso Cuiabá Mato Grosso do Campo Grande Sul Goiás Goiânia Distrito Federal Brasília Children in Brazil learn that the country is divided into 5 main regions, each with its own states. Southeast State Regions Capital city Minas Gerais Belo Horizonte Espírito Santo Vitória Rio de Janeiro Rio de Janeiro São Paulo São Paulo South State Regions Capital city Paraná Curitiba Santa Catarina Florianópolis Rio Grande do Sul Porto legre AIRS Songbook, English, January 2012 Fig. 2: Map of Brazilian regions Page|5 Capital City Brazil‘s capital city is Brasilia, a city located in the middle of the country and equidistant to some of the major state capitals. Fig. 3: Aerial map of Brasilia (the architecture of the city is build like an airplane) Fig.5: Oscar Niemeyer (1907) – The architect who designed Brasilia & many other important monuments across the world. Fig.4: Cathedral in Brasilia Population Brazil is the world's fifth largest country, both by geographical area and by population with 192 million people (according to a report by the Brazilian Institute for Geography and Statistics, 2010). Brazil is a mestizo (mixed-race) country. Most Brazilians descend from the country's indigenous peoples, Portuguese settlers, and African slaves. Since the arrival of the Portuguese in 1500, considerable intermarriage between these three groups has taken place. What is known in Brazil as ―brown population‖ (pardo in Portuguese) is a broad category that includes Caboclos (descendants of Whites and Indians), Mulattoes (descendants of Whites and Blacks) and Cafuzos (descendants of Blacks and Indians). Caboclos form the majority of the population in the Northern, Northeastern and Central-Western regions. A large Mulatto population can be found in the eastern coast of the northeastern region from Bahia to Paraíba and also in Maranhão, Minas Gerais and Rio de Janeiro. In addition, Brazil also has a large population of descendants of immigrants from diverse countries, including Portugal, Spain, Germany, Japan, the Middle-East, Poland and Ukrania in the South. (Source: Wikipedia) Fig. 6-7 Typical Brazilian children AIRS Songbook, English, January 2012 Page|6 Fig. 8-11 Typical Brazilian children Brazil is also believed to have the largest number of peoples in the world. In 2007, the National Indian Foundation reported the existence of 67 different tribes that have never been contacted, to this date! Fig. 12: Children from the Yanomami nation, preparing for a celebration. Religion Although Brazil is a secular country, the majority of its population follows the Roman Catholic religion. In 2000, 73.57% of the population followed Roman Catholicism; followed by Protestantism (15.41%); Kardecist spiritism (1.33%); other Christian denominations (1.22%); Afro-Brazilian religions (0.31)%; Buddhism (0.13%); Judaism (0.05%); Islam (0.02%); Amerindian religions (0.01%); other religions, undeclared or undetermined (0.59%); while 7.35% have no religion. (Source: wikipedia) Language Brazil is the only Portuguese-speaking country in the Americas and the largest lusophone (Portuguese-speaking) country in the world. The exception to this is in the municipality of São Gabriel da Cachoeira where Nheengatu, an indigenous language of South America, has been granted co-official status, along with Portuguese. Other Amerindian languages deriving from roots such as the Tupi (or Macro-Tupi), Macro-Jê and Aruak are also spoken in Brazil, as well as several unclassified ones. AIRS Songbook, English, January 2012 Page|7 Some words and expressions in Portuguese: Bom dia (Good morning) Boa tarde (Good afternoon) Boa noite (Good evening) Como vai você? (How are you?) Meu nome é... (My name is...) Quantos anos você tem? (How old are you?) Eu tenho... anos. (I am ... years old.) Onde você mora? (Where do you live?) Eu não falo português. (I don‘t speak Portuguese). Tchau. (Good bye) Monetary Unit The Brazilian real is the currency of the country. There are 100 cents (centavos) in 1 real. The real exists in denominations of 1, 5, 10, 20, 50, 100. Figure 13: Brazilian money Chief exports Major export products include aircraft, electrical equipment, automobiles, ethanol, textiles, footwear, iron ore, steel, coffee, orange juice, soybeans and corned beef. Fig.14: Oranges - a major export Geography and Climate Brazilian topography is diverse and includes hills, mountains, plains, highlands, and scrublands. Brazil has a dense and complex system of rivers, one of the world's most extensive, with eight major drainage basins, all of which drain into the Atlantic. The Amazon is one of its major rivers and the world's second-longest river and the largest in terms of volume of water. (Source: Wikipedia) Fig.15: Topographic map Fig. 16: Amazonian river and surrounding forest Flora, fauna and biodiversity Brazil is home to approximately 60% of the rainforest. The country is also well known for its rich wildlife, including some near threatened and endangered species. AIRS Songbook, English, January 2012 Page|8 Fig. 17: The golden lion tamarind is endangered! Fig. 18: The toucan is a bird that lives in the Amazon. Fig. 19: The jaguar is considered a near threatened species (Source: http://www.brazilianfauna.com/ ) Brazil also has thousands of different species of plants. Fig 20: The araucaria pine tree grows in cold areas of Brazil. Fig. 21: The vitória régia is a type of water lily that grows in the Amazon region. Food Fig. 22: Guaraná, a plant from the maple family, grows abundantly in Brazil. It looks like an eyeball! The fruit makes a very popular soft drink that many children appreciate. Brazilian cuisine is very rich and varied. It reflects the country's mix of native and immigrant populations. Some main dishes are Feijoada (black bean stew), considered the country's national dish; and other regional foods such as vatapá, moqueca, polenta and acarajé. Fig. 23: Feijoada (Black bean stew), with its typical accompaniments: white rice, fried bananas, farofa, fried manioc, spicy sauce, orange slices, stewed kale. Brazil has a variety of treats such as brigadeiros (chocolate balls), cocada (a coconut treat) and beijinhos (condensed milk balls, with or without guava jam). Some well known fruits include açaí, cupuaçu, mango, papaya, cocoa, cashew, guava, orange, passionfruit, and pineaple are turned into juices and also used to make chocolates, popsicles and ice cream. Popular snacks includes pastel (a pastry filled with cheese, meat or hearts of palm) coxinha (chicken croquete), pão de queijo (cheese bread and cassava flour / tapioca), pamonha (corn and milk paste), to name a few. . AIRS Songbook, English, January 2012 Fig.24: Brigadeiro: a favorite of all Brazilian children, normally served at birthday parties, after everyone sings, the birthday child blows the candles and the cake is sliced Page|9 The everyday meal consists mostly of rice and beans with some protein and salad. It is common to mix it with cassava flour (farofa). Fried potatoes, fried cassava, fried banana, fried meat and fried cheese are some side dishes that may accompany one‘s lunch. The national beverage is café. A soft drink made from guaraná is also quite popular. Fig.25: Coffee: a favorite of all grownups. Brazilians usually drink it in small cups. Sports & Leisure The most popular sport in Brazil is football (soccer). The Brazilian national football team is ranked among the best in the world according to the FIFA World Rankings, and has won the World Cup tournament a record five times. Basketball, volleyball, auto racing, and martial arts (like Capoeira) also attract large audiences. Some sport variations have their origins in Brazil: beach football, futsal (indoor football) and footvolley emerged in the country as variations of football. Some types of martial arts include Capoeira, Vale tudo, and Brazilian Jiu-Jitsu. Auto-racing (Formula 1 and Formula Indy) is also quite popular in Brazil. Fig.26: Pelé (1940) is Brazil‟s most famous Soccer player. Music The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, choro, bossa-nova, frevo, maracatu, ciranda, sertanejo, rock, pop, among others. Instrumental music is also largely practiced in Brazil, with styles ranging from classical to popular and jazz influenced forms. Fig. 27: Tom Jobim (1927-1994) – Musician, one of the inventors of Bossa Nova (known in the US as Brazilian jazz) AIRS Songbook, English, January 2012 Fig. 28: Heitor Villa-Lobos (1887-1959) – One of the most well known Brazilian composers, played an important role in promoting Brazilian music overseas. P a g e | 10 More images of Brazil Fig. 29: Christ the Redeemer (Rio de Janeiro) Fig. 30: Sugar Loaf (Rio de Janeiro) Fig. 31: Salvador da Bahia Fig 32: Iguaçu Falls (Paraná) Fig. 33: Beach in Fortaleza (Ceará) Fig. 34: Historic church in Ouro Preto (Minas Gerais) Fig. 35: Ver o Peso market in Belém (Pará) AIRS Songbook, English, January 2012 P a g e | 11 References Books Andrade, M. (1989). Dicionário musical brasileiro [Brazilian musical dictionary]. São Paulo: Edusp. Appleby, D. (1983). The music of Brazil. Austin: University of Texas Press. Cortes, P. & Lessa, B. (1955). Manual de danças gauchas [Manual of Gaucho dances]. São Paulo: Irmãos Vitale. Murphy, J. (2005). The music of Brazil. Oxford: OUP. Webpages http://en.wikipedia.org/wiki/Music_of_Brazil http://en.wikipedia.org/wiki/Brazil AIRS Songbook, English, January 2012 P a g e | 12 SONGS Brazilian Song 1: Escravos de Jó (Slaves of Joe)* This is a traditional singing game, played with paper cups or other objects that are passed around. There is a lot controversy concerning the origins of this song as well as many variations of its lyrics across Brazil. Some researchers argue that the lyrics tell the story of slaves who collected a crustacean called caxangá (in Portuguese, ―juntavam caxangá‖). Others think that caxangá was a nonsense word. Either way, this musical game is quite popular among Brazilian children and adults. Lyrics Escravos de Jó Jogavam caxangá Tira, bota Deixa ficar Refrão Guerreiros com guerreiros Fazem zigue, zigue, zá! Guerreiros com guerreiros Fazem zigue, zigue, zá! The slaves of Joe They play the caxangá Take out, pour out Let, let it stay Refrain Warriors with warriors They do zigue, zigue, zá! Warrior with warriors They do zigue, zigue, zá! Fig. 36: Playing the traditional singing game Configuration Children sit on the floor in a circle. Each child holds a small stone or a piece of wood (it can also be any other object that the child is able to play, like, for example, a cup). The game As they sing, each child must pass the object to the friend who is sitting on her right hand side, and hold the one passed by the child who is in the left, in a continuous, collective movement. The children must follow the strong beats of the melody. When they sing zigue, zigue the children must hold the object in the hand, albeit continuing the motions described above. When they sing the word ―zá!,‖ they must pass the object to the child who is sitting next to her (at the right side). They must repeat the last two verses of the refrain. Once the children know the game well, the tempo should be accelerated. In each repetition of the melody, a certain difficulty may be added, for example, the melody can sung with bocca chiusa or whistled, and children can also make the gestures while singing in their heads (without any sounds coming out of their mouths). Additional videos http://www.youtube.com/watch?v=olGfAXs3YSY&feature=related http://www.youtube.com/watch?v=HpCLMQO6g0Q AIRS Songbook, English, January 2012 P a g e | 13 Brazilian Song 2: Nessa rua tem um bosque (in some parts of Brazil, it is also known as ―Se essa rua fosse minha‖) This is a traditional children‘s song, a dreamy lullaby. It is almost in dialog form: the first two voices are sung by one character and the last one, by the ―angel.‖ Lyrics Nesta rua, nesta rua tem um bosque Que se chama, que se chama solidão Dentro dele, dentro dele mora um anjo Que roubou, que roubou meu coração. This street, this street has an angel Who is called, who is called solitude There´s an angel, there´s an angel living here Who has robbed, who has robbed all my heart. Se eu roubei, se eu roubei teu coração Tu roubaste, tu roubaste o meu também Se eu roubei, se eu roubei teu coração É porque, é porque te quero bem! If I took it, if I took your heart You have robbed, you have robbed my heart too If I took it, if I took your heart It´s because, it´s because I love you dear! Se esta rua, se esta rua fosse minha Eu mandava, eu mandava ladrilhar Com pedrinhas, com pedrinhas de brilhante Para o meu, para o meu amor passar If this street were mine I would have it covered by stones With shiny pebbles For my love to pass by Configuration Children hold hand in a circle. One child stays in the center. The game The circle spins and sings the first verses of the song. Then, the child who is in the center, sings alone (a solo) the final verses, holding another chosen participant, who will be in the center the next time they all sing the song. Fig. 37: A lullaby cartoon AIRS Songbook, English, January 2012 P a g e | 14 Brazilian Song 3: Pezinho (Little foot) Originally from the Azores, this song was brought to Brazil by immigrants, adapted and immortalized in Southern Brazil, especially in the states of Rio Grande do Sul and Santa Catarina. This song is usually sung in a circle and singers stomp their heels and point their toes to the beat of the music/according to the lyrics. While in Southern Brazil this dance-genre appears in traditional festivities and celebrations, across Brazil it is more common in the month of June, in what is known as Festa Junina (June Festivity). During this festivity, which takes place in the Brazilian winter, there are celebrations in schools. Children dress up in patched clothes, play games, dance and eat traditional foods and goodies including popcorn, sweet potato, pine nuts, and hot dogs. Fig. 38: Dancing to Pezinho Lyrics Refrão (repete) Ai bota aqui, ai bota ali O teu pezinho O teu pezinho bem juntinho Com o meu Refrain Oh! put it here, oh! put it there Your little foot Your little foot, your little foot well close To mine Verses (All repeated twice) 1. E depois não vá dizer Que você já me esqueceu 2. E ao chegar bem junto a ti Um abraço quero eu 3. Agora que estamos juntinhos Dá um abraço e uns beijinhos 1. And don´t say after this play That you now forgot my friendship 2. And when I dance very close A big hug I want from you 3. And now we are very close Give me a hug and little kisses AIRS Songbook, English, January 2012 P a g e | 15 Configuration Children are in pairs facing each other, forming two lines. The game/choreography Singing the two first verses of the refrain, the pairs hold the right hand keeping the arms semi-flexed and raised approximately as high as their chests. Put the right leg in front stretched, put the heel on the floor (raising the tip of one‘s toe), which does an imaginary arch, touching the floor several times starting with the right side, when coming to one of the extremes of this arch. Finally, they join the right foot to the left foot. Singing the two last verses of the refrain, they make the same motions with left leg, starting with the left side. They repeat. Verse 1 (and repetition): always singing, the pairs get closer, they hold the right arm and spin, making a complete turn. They stand aloof, they make a compliment putting the head down and curving the right leg. They repeat the same motions holding the left arm. They repeat. Refrain: the movements are slightly modified: they do not put the heel on the floor; the leg advances, stays stretched and all the foot makes the movement from one side to the other, only the tiptoe hits the floor. Verses 2 and 3: motion identical to Verse 1. Refrain: motion already described at the beginning. Additional video http://www.youtube.com/watch?v=Gez4UY3DLzY&feature=related Brazilian Song 4: Roda pião (Roll, teetotum) A teetotum is a type of spinning top. It is considered one of the oldest toys in the history of mankind. Besides toys, tops and teetotums have also historically been used for gambling and prophecy. Tops and teetotums appear in different shapes and forms in most cultures across the world. The teetotum can be spun on an axis, balancing on a point. This motion is produced by holding the axis firmly while pulling a string or twisting a stick. Its internal weight rotates and produces a circular motion. Fig. 39: Rolling the teetotum AIRS Songbook, English, January 2012 P a g e | 16 This traditional song is about a teetotum that joins a circle ―of friends.‖ That is, the child who joins the circle acts as a teetotum and follows the actions suggested by the lyrics. Teachers can also improvise and add some other actions to the song, once everyone knows the melody by heart. Curiosity: When this song migrated to Southern Brazil, people began singing ―O pinhão‖ (the pine-nut) joined the circle, as this region has an abundance of pine nuts. For a score of this version: http://www.jangadabrasil.com.br/realejo/pdfs/opinhao.pdf Lyrics O pião entrou na roda, ô pião teetotum O pião entrou na roda, ô pião teetotum Fig. 40: Wood Teetotum Refrão: Roda pião, bambeia pião. Roda pião, bambeia pião. Other verses 1. Mostra a sua figura, ô pião (bis) 2. Sapateia no terreiro, ô pião 3. Faça uma cortesia, ô pião (bis) 4. Entrega o chapéu a outro, ô pião (bis) Teetotum has joined the circle, Teetotum has joined the circle, Refrain: Roll teetotum, get loose teetotum Roll teetotum, get loose teetotum 1. Show your figure to your friends, teetotum 2. Stamp your feet in the backyard, oh! teetotum 3. Make a compliment to your friends, teetotum 4. Give your hat to a chosen friend, teetotum Configuration Children make a circle, holding hands. Another possibility for more advanced children, is to sing and clap hands, repeating the syncopated rhythm: a dotted eighth note, a sixteenth note tied to another eighth note, an eighth note. It is important to make an accent in the sixteenth note, to highlight the syncopation. The game One child stays in the center of the circle: she/he is the teetotum. The children around the circle, walk , singing the first verse. Afterwards, they sing the refrain, imitating the movements of the child who is the teetotum. This child puts the hands in her waist, makes a complete turn and dances shaking the hips following the rhythm of the song. This rhythm is a Brazilian samba-de-roda. Additional video http://www.youtube.com/watch?v=ATRAaIxZCyc Brazilian Song 5: Sou eu maculêlê AIRS Songbook, English, January 2012 P a g e | 17 The Maculêlê came from the ―Cucumbi‖ folk dance. The Cucumbi was a revival of the fights between Indians and Africans during the colonial period. Maculêlê was performed during Our Lady of the Purification feast in February, in the city of Santo Amaro (Bahia, Brazil). This dance genre usually starts when the leader waves a long stick around his head. The musicians play drums, ganzá rattles and agogôs to beat out the rhythm. Each participant holds two wooden sticks, which are struck-together to the rhythm of the chants, in order to defend themselves from each other. Body movements usually follow the Congo rhythm, with accents on the fourth beat. Traditionally, the performers usually painted their faces, arms and legs with black paint, dyed their lips red and covered their hair with wheat flour. They also painted horizontal red and white stripes on their faces and arms. Maculêlê costumes consisted of short-sleeved striped T-shirts, short trousers, red Portuguese pointed caps, and red scarves tied around their necks and waists. No shoes were worn. For more info on maculelê: http://joaoxms.sites.uol.com.br/pt_nordeste.htm Lyrics Refrão Sou eu, sou eu Sou eu maculêlê, sou eu Refrain I am, I am I am maculêlê, I am Versos Nós viemos da Sulamérica Somos Vitória Régia do Brasil Verses We came from South America We are Vitória Régia from Brazil Figs. 41-42: Dancing with the Macuelele The lyrics of folk songs reveal many aspects concerning the culture of a people. Ethnic diversity is one of the main features of the vast Brazilian territory. In many situations the same melody is sung with different lyrics depending on the peculiarities of each place and mode of feeling of its people. It is very common for teachers to make adjustments to the lyrics, as means to achieve several educational goals like improvisation and composition or to facilitate social interaction. In the case of the song ―Sou eu, sou eu‖ the original words are as follows: Refrain: Sou eu, Sou eu, Sou eu maculelê, sou eu Verses: Nós viemos do Mato Grosso (We came from Mato Gross) Somo açucena da Mata Reá (We are açucena of Mata Reá) For the purpose of the AIRS Project, we, the Brazilian team, have decided to create another verse that informs the people of other cultures from where the song comes (i.e., South America,) and also inform about the name of one of the largest flowers of the Amazon (the Victoria Regia). Here is the new verse that we created: Nós viemos da Sulamérica Somos Vitória Régia do Brasil AIRS Songbook, English, January 2012 P a g e | 18 Configuration Children are in pairs. Each child holds two sticks. Instruments: While professional dancers may use large knives to dance, it is also common to see these substituted for large pieces of wooden sticks, agogô, melê and atabaques. Since the participants are children, the wooden sticks are the most appropriate instruments to use. Performance The children enter the room holding two wooden sticks, one following the other. The leader goes in front and the second leader behind him. The leader sings (solo) the melody a cappella. The others repeat as a choir. The atabaques play a long trill and the participants shake the wooden sticks in the air. The leader plays with the participants, improvising different ways for making sounds with the wooden sticks (he may play in the floor, hit the stick of other participant, hit both sticks in the air, etc.). Participants imitate every movement and sound made by the leader. The leader may choose a participant to play individually with him. The basic movements are: hit the stick in the stick of the colleague, in the fourth beat of the measure. During the other 3 beats, the child may improvise movements or hit the sticks in the floor or in the air. Participants must follow the rhythm and the tempo of the melody, and must choose the pairs to play during the performance of the maculêlê. Additional videos http://www.youtube.com/watch?v=zXWfEc5LFRM&feature=related http://www.youtube.com/watch?v=NWUEBAUcI2Y&feature=related http://www.youtube.com/watch?v=QC3ICTVC_fA&feature=related Brazilian Song 6: Casa de farinha (Flour House) AIRS Songbook, English, January 2012 P a g e | 19 This song is a traditional ciranda, a dance-form found especially in the state of Pernambuco, Northeastern Brazil. No one knows for sure what is the true origin of the ciranda; while some scholars believe that it originated in Europe (Portugal), others suggest that it may have been created by Fishermen who observed the movement of the waves and tried to imitate it. Fig. 43: A ciranda dance The ciranda is a circle-dance, with unlimited participants (see picture below). Usually, there is a leader (the mestre), who leads the ciranda (or pulls it, as we say in Portuguese). The mestre often stays in the middle of the circle and leads the group, singing, but this varies. People who sing and dance cirandas are called cirandeiros. Dona Lia de Itamaracá, one of the most well-known cirandeiras of Brazil, once said: ―The ciranda follows the waves in the sea, always with the left foot.‖ What‘s nice about the ciranda, is that anyone can join in and leave the circle as they please. Ciranda circles often start small and enlarge, as people are captivated by the music and join in. Source: http://www.recifeguide.com/culture/ciranda.html Fig. 44: A large ciranda dance Source: http://pernambucobeat.files.wordpress.com/2009/03/ciranda.jpg Lyrics Ciranda - Casa de Farinha Mandei fazer uma casa de farinha Bem maneirinha que o vento possa levar Oi passa sol, passa chuva, oi passa vento Ciranda ‗Flour House‘ I requested a flour house So light that the wind may carry away the sun, the rain, the wind may pass through Só não passa o movimento do cirandeiro a rodar Achei bom bonito Meu amor brincar Ciranda maneira Vem cá cirandeira Vem cá balançar but not the movement of the cirandeiro I thought it was beautiful To see my love play Light ciranda Come here, cirandeira Come move (with us) AIRS Songbook, English, January 2012 P a g e | 20 Performance This ciranda talks about the flour house, or the place where flour is made. Here, men and women practice their abilities, which were developed after years of interaction with nature. A typical ciranda normally includes voices, and percussion instruments like a zabumba (a type of wooden drum), a tarol (snare drum: a small cylindrical drum with two heads stretched over a shell of metal. The upper head, which is struck with two drumsticks, is called the ―batter head‖) and small shakers. The zabumba gives the strong beat in a 4/4 meter. This is when the cirandeiros stomp their left foot in the center. The ciranda always moves to the right, and the participants make arm movements to accompany, imitating the waves. Teachers can teach this song in many ways. Advanced students may sing it in canon or in two parts Mandei fazer… along with Achei bom bonito… Sources: BIANCARDI, Emília. Raízes Musicais da Bahia [Musical roots of Bahia]. Salvador: Omar G., 2000. MADALOZZO, T., ILARI, B., ROMANELLI, G., BOURSCHEIDT, L., KROKER, F. & PACHECO, C.B. (2008/2012). Fazendo música com crianças [Making music with children]. Curitiba: Editora da UFPR. NOVAES, Iris Costa. Brincando de Roda [Playing circle games]. Rio de Janeiro: Livraria Agir Editora, 1983. OLIVEIRA, Alda de Jesus. Música na Escola Brasileira: Frequência de elementos musicais em canções vernáculas da Bahia, utilizando análise manual e por computador. Sugestões para aplicação na educação musical [Music in Brazilian schools: Frequency of musical elements in vernacular songs from Bahia]. Porto Alegre: ABEM, 2001. Based on the author‘s PhD dissertation, accepted at The University of Texas in Austin, USA (1986). Websites: Teetotum: http://www.gamesmuseum.uwaterloo.ca/VirtualExhibits/Brueghel/teetotum.html Ciranda: http://www.inepac.rj.gov.br/arquivos/CasadeFarinha10.10.05.pdf (In Portuguese, but has photos) http://www.panoramicearth.com/6092/Ubatuba/Casa_de_Farinha_Comunitaria http://pernambucobeat.files.wordpress.com/2009/03/ciranda.jpg http://www.youtube.com/watch?v=nWbDoV_X-to More about Brazilian songs - http://www.jangadabrasil.com.br/index.asp Map of Brazil and Regional Songs: Casa de farinha (Pernambuco) Sou eu maculelê (Bahia) Pezinho (Rio Grande do Sul) Fig. 45:Regional Map of Brazilian Songs AIRS Songbook, English, January 2012 P a g e | 21 CANADA Compiled by Arla Good, Ryerson University, Toronto, Canada Kelly Gillis, University of Prince Edward Island, Canada Jennifer Beynon-Martinec, University of Western Ontario, Canada AIRS Songbook, English, January 2012 P a g e | 22 BACKGROUND Canada is a North American country comprised of 10 provinces and 3 territories. The country lies in the northern most part of the continent and reaches from the Atlantic Ocean to the Pacific Ocean and extends north to the Arctic Ocean. Based on total surface area, it is the world‘s second largest country. Canada borders the United States of America. This is a map of Canada. Each of the 10 provinces and 3 territories is highlighted in a different color. Fig. 1: Provinces and Territories of Canada Major Cities Canada‘s capital city is Ottawa. It is located in the province of Ontario in the southeast part of the country. Besides the parliament buildings, Ottawa also contains the Rideau Canal. In the wintertime, the canal becomes a continuous skateway, officially known as the world‘s largest skating rink. Fig. 3: Rideau Canal Fig. 2: Ottawa Parliament Building Though Ottawa is the country‘s capital city, the largest and most well known city in Canada is Toronto. Toronto is the economic hub of the country and the fifth most populated city in North America. The Toronto skyline, as seen in the photo, is defined by the CN tower, the tallest tower in the Western Hemisphere. Population According to Statistics Canada, Canada‘s population reached over 34.4 Million in 2010, an increase of about 11% from 2001. The people: The Canadian land was inhabited for millennia by numerous Fig. 4: Toronto Skyline different types of aboriginal tribes. Beginning in the 15th century, British and French colonies explored and settled throughout the country. There are also many people of Scottish and Irish heritage in Canada. Today, Canada celebrates the fact that it is home to people from hundreds of different countries. AIRS Songbook, English, January 2012 P a g e | 23 Religion Canada has no official religion and is proud to support many religions. Originally Canada could have been described as primarily a Christian Country due to the immigration of European settlers for hundreds of years, with 43.6% of the population as Catholics and 29.2% as Protestants. In a recent census, 16% claimed to have no religious affiliation. Other religions practiced in the country include Muslim, Jewish, Buddhist, Hindhu, and Sikh. Fig. 5: Religions of Canada Language Canada has two official languages: English (59.7%) and French (23.2%). More than 85% of the French-speaking Canadians live in Quebec. There are 11 aboriginal language groups however as oral traditions, they are in danger of being lost. Because of the multi-cultural nature of the country, over six million people list a non-official language as their mother tongue. The most prominent of these are Chinese, Italian, German, Punjabi, and Spanish. Monetary Unit The Canadian dollar is the currency of the country. There are 100 cents in 1 dollar. All the coins contain images important to Canadian culture and environment: The polar bear, the loon, the moose, the bluenose sail boat, the beaver, and of course, the maple leaf. There are also paper bills, on Fig. 7: Canadian Coin Currency which important people in Canadian history are pictured: $5 bill: Wilfred Laurier, Prime Minister 1896-1911 $10 bill: John A. Macdonald, Canada‘s first Prime Minister $20 bill: Queen Elizabeth II $50 bill: William Lyon MacKenzie King, Prime Minister 1921-1948 $100 bill: Robert Borden, Prime Minister 1911-1920 Fig. 6: Canadian Paper Currency Chief exports Canada is one of the world‘s largest suppliers of agricultural products, such as wheat and canola; and natural resources, such as gold and oil. The sweet maple syrup that comes from the abundance of maple trees in Canada is also a common export of the country. The maple trees are ‗tapped‘ as seen here for the sap that is exuded as sweet maple syrup. This process is most common during the springtime of the province of Quebec. The sap from the trees is bottled and sold as maple syrup. It is used as a baking ingredient, a sweetener, or to pour over pancakes in the morning. AIRS Songbook, English, January 2012 Fig. 8: Maple Syrup Fig. 9: „Tapped‟ Maple Tree P a g e | 24 Geography and Climate As the 2nd largest country in the world, Canada experiences a variety of landscapes and climates from the frozen tundra of the far north to the more temperate climate of the southern regions. Canadians experience four distinct seasons: spring, summer, autumn, and winter. Temperatures vary widely across regions and seasons. Some areas have temperatures as low as –25 degrees Celsius, while other areas have temperatures as high as 30 degrees Celsius. During the autumn months, the deciduous forests demonstrate bright colors of orange, yellow and red. Regions of Canada The East Coast On the eastern coast of Canada, in Newfoundland, the townhouses are often painted in vibrant colors. St John‘s, Newfoundland has been called the city of a thousand colors. Fig. 10: Colored Houses of Newfoundland Fig. 12: The Praires Fig. 11: Beach and Lighthouse in Halifax, Nova Scotia. The Prairies The Prairies are located in the centre of the country, including the provinces Alberta, Saskatchewan, and Manitoba. They are large, flat, grassy plains, which produce much of the Canadian agriculture such as wheat and barley. The West Coast and Rocky Mountains Lake Moraine is a distinct image of Canada. Located in the Rocky Mountains of Alberta in Banff National Park, this glacially fed lake is surrounded by 10 mountain peaks. It is a popular, but seasonal, tourist attraction. Fig. 13: Lake Moraine The Great North The lights of the aurora can be seen in the northern parts of Canada, which makes their more common name, the northern lights, predictable. The lights can be seen particularly well in the territories of Canada. The Inuit people of the North wear the skin and fur of the caribou, seal, and polar bear to keep warm in the frigid conditions. Fig. 14: The Northern Lights Fig. 15: The Inuit people AIRS Songbook, English, January 2012 P a g e | 25 Central Canada: Ontario and Quebec Ontario was originally inhabited by Algonquian Indians and the Seneca Tribes of the Iroquois Nation. The French explorer Etienne Brule first toured the area in 1610. He was followed by Henry Hudson, an English sea explorer and navigator who claimed this vast area of land for England in 1611. The province is home to mineral, agricultural, manufacturing and timber resources which has provided economic stability. The province has grown from a rural base to a large urban base with its abundance of natural resources, excellent transportation links to the world, and access to the inland Great Lakes, Ontario. At 5 million people, Toronto, the provincial capital, is the largest city in Canada. Fig. 16: Henry Hudson (http://www.worldatlas.com/webimage/countrys/namerica/province/onz.htm) The official language of Quebec is French and and the majority of the population are francophone. It is Canada‘s largest province with the 2nd largest population in Canada, and is bordered by Ontario on the west, Hudson Strait and Ungava Bay on the north, the United States on the south, the Gulf of St Lawrence, Labrador and New Brunswick on the east. Its natural resources are abundant, and it is known for its contributions to the knowledge economy, information and communication technologies, biotechnology and the pharmaceutical industry. Political Divisions of Canada A conservative federal government currently runs Canada. The second largest administrative structures after the central government are the provinces. Here is an image of the parliament buildings. Located on Parliament Hill in Ottawa, Ontario. Currently, Canada has a conservative government led by Stephen Harper. Recreation and Sports Many Canadians would argue that ice hockey is the national sport. Hockey is played on a large area of ice and the Fig. 17:Parlament Building purpose of the game is to place a rubber disc (called a puck) into the opponent‘s goal using the hockey stick as seen in the image. Fig. 18: Hockey Player In Canada, and especially in the Rocky Mountains, skiing and snowboarding are popular pastimes, making the skiing village a common vacation destination. Fig. 19: Skiing in the Rocky Mountians AIRS Songbook, English, January 2012 Fig. 20: Skiing Village P a g e | 26 Canoe trips are a popular getaway from the city for Canadians. National parks, such as Algonquin Park found in Ontario, keep wooded areas safe from destruction When travelling by canoe, occasionally it is essential to portage the canoe through passes of land connecting two bodies of water. Fig. 21: Algonquin Park Child Nature and Wildlife Fig. 22: Traveling by Canoe The wildlife in Canada is highly varied ranging from predators such as grizzly bears in western Canada to a beautiful array of birds and insects. The moose is commonly associated with the northern forests, and are distinguished by the great antlers worn by the males used in fights to win over the females. To manage the cold winters, many animals, such as bears, chipmunks and squirrels hibernate, while many birds, such as geese, swans, ducks, and songbirds migrate to warmer climates. This Canadian stamp illustrates the Loon, the provincial bird of Ontario. The loon can also be seen on the one-dollar coin (aka the Loonie). Fig. 25: Canadian Stamp Fig. 23: Moose National Symbols of Canada Anthem: O Canada Fig. 24: Loon Tree: maple Animal: beaver Child Bird: Common loon Motto: A Mari Usque Ad Mare (from sea to sea) Sport: Lacrosse (ice hockey) Fig. 26: Lacrosse Sticks Food As Canada has become such a multi-cultural nation, it enjoys the food of various cultures around the world. Regardless of what type of food you are looking for (Italian, Greek, Japanese, Arabic, Indian , etc.), you can find it in the many cities of Canada. However, there are also many regional foods. In the east, you might try seal flipper pie; in Quebec, poutine is a popular dish the contains French fries, gravy and cheese curds; in Saskatchewan, you might have a Saskatoon berry pie; or in British Columbia, fresh salmon. Maple syrup is likely Canada‘s most well-known treat. AIRS Songbook, English, January 2012 Child Fig. 27: Poutine P a g e | 27 Inventions  Canadian invented Basketball, Baseball and 5 pin Bowling  Telephone (Alexander Graham Bell)  Television (Reginald Fesseiner)  Music Synthesizer  Insulin (Banting) Major Tourist Attractions  Niagara Falls  Bonhomme Festival – Quebec City  Stanley Park (Reversing Falls)  Bay of Fundy  Whistler, British Columbia  Calgary Stampede  Banff National Park Fig. 28: Niagara Falls Music Canada was first populated by the First Nations peoples, and then by European settlers, so Canadian music is a reflection of the diverse influences that have encompassed the country, including the aboriginals, the French, and the British. In addition, considering the proximity to the United States of America, the music of Canada has been heavily influenced by American culture. Nationalism has become important to the Canadian identity and the country is home to a multitude of diverse, internationally renowned performers and composers ranging from the fiddle music of Quebec or East Coast to aboriginal stars such as Buffy Ste Marie and Susan Aglukark. The country is home to all genres of music from classical to pop. Some famous recording artists are Great Big Sea, Sarah McLachlan, Tragically Hip, Michael Buble, Celine Dion. Fig. 29: Celine Dion Most celebrated among Canadian classical icons is pianist, Glenn Gould (September 25, Child 1932 – October 4, 1982) who became one of the best-known and most celebrated classical pianists of the 20th century. He was particularly renowned as an interpreter of the keyboard music of Johann Sebastian Bach. His playing was distinguished by remarkable technical proficiency and capacity to articulate the polyphonic texture of Bach‘s music. Fig. 30: Glenn Gould AIRS Songbook, English, January 2012 P a g e | 28 SONGS Canadian Song 1: Land of the Silver Birch* While the composer of the melody is unknown, this traditional Canadian folk song is set to a poem by the 19th Century poet from Six Nations, Ontario, Emily Pauline Johnson, aka Tekahionwake [1861-1913]. Pauline Johnson (1861-1913) was the first Native Canadian to have her work published in Canada and was one of the few women of her time who succeeded in supporting herself from her writings and recitals. Thousands of Canadian schoolchildren have sung her poem "The Song My Paddle Sings."Johnson was unique in her time because she recited her own work rather than that of others. Her recitals of her own poems, anecdotes, and plays were a refreshing change for American and Canadian audiences whose usual theatrical fare was Shakespeare or Ibsen. Johnson was never able to make much money from her writing, and most of her income came from her speaking tours. http://www.encyclopedia.com/topic/Emily_Pauline_Johnson.aspx Fig. 31: Pauline Johnson This Canadian folk song is often sung to help keep a rhythm while canoeing through lakes surrounded by the abundant birch trees. The song brings to mind many images of Canadian nature and wildlife. For example, animals such as the beaver, the moose and the goose are mentioned. Aboriginal culture is also represented by the phrase ―High on a rocky ledge I shall build a wigwam;‖ a wigwam is a domed, round shelter built of grass, brush, bark, rushes, mats, reeds, hides or cloth. These shelters were common among numerous First Nations tribes. The song is also sung around a campfire and often in a round. Though the origin of this song is unknown, it has been a popular tune to sing at boy scouts and Girl Guide camps since the 1930s. Ideas for teaching the song: Use a constant drumming pattern throughout the song. A constant drum pattern is called an ostinato. You may use one drummer or create a drum circle. Try one of the following rhythmic patterns: Fig. 32 Canoe at Dusk AIRS Songbook, English, January 2012 P a g e | 29 Here are the images that are portrayed in the song. Teachers can provide a Vocabulary Mix and Match Activity. 1 2 AIRS Songbook, English, January 2012 3 4 5 6 7 8 9 10 11 12 P a g e | 30 1– 5– 9– Silver Birch Rocky Shores Birch Bark Canoe 2– 6– 10 – Beaver Forest Rocky Ledge 3– 7– 11 – Moose Lowlands Wigwam 4– 8– 12 – Blue Lakes Silver Fish Descriptive Map of Canada Canadian Song 2: Ah! Si mon moine voulait danser Ah! si mon moine voulait danser, Ah ! si mon moine voulait danser, **Un capuchon je lui donnerais, un capuchon je lui donnerais. Danse, mon moine, danse, tu n'entends pas la danse, Tu n'entends pas mon moulin, lon, là, tu n'entends pas mon moulin marcher? **In subsequent verses these lyrics should be replaced with the following: 2nd: Un ceinturon je lui donnerais, Un chapelet je lui donnerais. 3rd: Un chapelet je lui donnerais, Un ceinturon je lui donnerais. 4th: Un beau psautier je lui donnerais, Un beau psaultier je lui donnerais. 5th: Bien d'autres chos' je lui donnerais, Bien d'autres chos' je lui donnerais. There is controversy as to the origins of this song. One group believes that it came to French Canada from France in the 18th Century with the early settlers; others say that it was created in Quebec as a singing game for children. The word moine means monk or spinning top, and this is a well-known ‗tongue-in-cheek‘ singing game. AIRS Songbook, English, January 2012 Fig. 33: Cartoon Depiction of Canadian Monk P a g e | 31 English Version of the Song: Oh, if my monk would dance with me! **A big brown hood I would give to thee. Come, my monk, let's dance now, Together let us skip now, As lightly on the measures go, Our feet move merrily to and fro. **In subsequent verses these lyrics should be replaced with the following: 2nd: A fine wide sash I would give to thee. 3rd: A rosary I would give to thee. 4th: A psalter rich I would give to thee. (a psalter is the Book of Psalms from the Bible) 5th: Many a thing I would give to thee. (adapted from www.choralnet.org) Performance Suggestions: French Canadian songs are often sung and danced, accompanied by fiddle and spoons. Canadian Song 3: Ho, Ho, Watanay Ho, Ho, Watanay (Mohawk) Sleep. My Little One (English) Dors, dors ma petite (French) Ho, Ho Watanay. Ho, Ho Watanay. Ho, Ho Watanay. Ki-nyo-kee-na. Ki-nyo-kee-na. Sleep, Sleep, My little one. Sleep, Sleep, My little one. Sleep, Sleep, My little one. Now go to sleep. Now go to sleep. Dors, Dors, ma petite fille (mon petit fils). Dors, Dors, ma petite fille. Dors, Dors, ma petite fille. Bonne nuit ma belle. Bonne nuit me belle. Ho,ho watane is a Mohawk lullaby collected by Alan Mills on the Kahnawake (Caughnawaugha) Reserve in the 1950‘s. It has become a popular children‘s song all across Canada, and has been translated into numerous languages in children‘s songbooks in many countries around the world. The Iroquois Federation is made up of Six Nations: the Mohawk, Oneida, Tuscorora, Seneca, Cayuga and Onondaga Tribes. Members of the Mohawk Nation were known as the ―keepers of the eastern door‖ and live mainly in eastern Ontario and Quebec along the St Lawrence Rivers, and in New York State. Fig. 34: Tree of Peace AIRS Songbook, English, January 2012 Fig. 35: Eagle P a g e | 32 The original name was said to be Kanien'kehake (or people of the flint), however because the European settlers shortened the name to Mohawk as they tried to pronounce it. Mohawk Symbols Haudenosaunee designs have featured recurring designs for centuries; these symbols have been passed on through generations, and have deep cultural significance. They can also tell us a great deal about the people of this tribe, and what they believed in. For the Haudenosaunee, many symbols bare a much deeper meaning. Examples of some such symbols are listed below The Tree of Peace is a tall white pine that has been planted by the Onondaga, representing the great binding law, or Gayanahsagowa, which unified the five Nations. The cardinal points for north, south, east, and west are represented by four white roots growing from the Tree of Peace. The number four has great significance in Haudenosaunee lore, also representing the four beings who help the Creator, and the four winds that blow. An eagle sits atop the tree of peace, watching over the five Nations, ready to cry out at the first sign of approaching danger. The eagle is considered to be a messenger sent by the Creator. The next symbol is that of a circle, representing unity and the cycle of life. According to Haudenosaunee lore, the Peace Maker made the Iroquois chiefs gather around the Tree of Peace, forming a circle by holding hands in order to keep the peace. The next symbol is a bundle of five arrows, each representing one of the five founding tribes of the Iroquois League. The Peace Maker demonstrated that one arrow could easily be broken, while a bundle five would remain strong. All life is believed to have come from the Sky World, which is represented as a dome, or arch. In addition to the Tree of Peace, the Haudenosaunee often make references to the Celestial Tree, from which all lights in the Sky World originate. The Earth itself is represented by Turtle Island a giant turtle whose carapace features thirteen plates, each of which represent one of thirteen moons that make up an entire year. North-America (Mother Earth) is often represented as a turtle. The dark side of Haudenosaunee lore is known as The Underworld, and it is represented by (amongst other things) snakes, and a horned panther with a long serpentine tail which lives underwater in eth great lakes. (http://www.mohawktribe.com/haudenosaunee_symbols.htm) The most famous Mohawk man in history is said to be Theyebdabegea (Joseph Brant) who convinced the Mohawks to side with the British during the Revolutionary War between the British colonists in Canada and the United States. (http://www.mohawktribe.com/theyebdabegea.htm) For further information, see http://www.mohawktribe.com/ Fig. 36: Theyedbabegea AIRS Songbook, English, January 2012 P a g e | 33 Canadian Song 4: I'se the B'y that Builds the Boat This traditional Newfoundland folk song is written in a dialect unique to the East Coast of Canada. Newfoundlanders have a distinct way of speaking with words and phrases exclusive to their region. I‟se the b‟y means I‟m the Boy. The fish referred to is cod, which, if not cured properly, would be infested with maggots. It is believed that the song originated in the 1870s in a Newfoundland fishing village. This song tells the story of a fisherman who catches some fish to take home to his wife, Liza. It is a lively dance song and the lyrics reflect the East Coast dependence on the sea. This song is a popular tune in dance halls and at kitchen parties; these are parties with Celtic-based music in intimate settings such as a friend‘s home. These traditional gatherings are still common among people of the East Coast. Fig. 37: Harrington, Newfoundland fishing village The song was covered by the popular Canadian group – Great Big Sea. http://www.youtube.com/watch?v=S-bQn9DtgUA http://www.tourismlowernorthshore.com/harrington.asp AIRS Songbook, English, January 2012 P a g e | 34 Canadian Song 5: The Huron Carol The Huron Carol is seen as Canada‘s oldest Christmas song, written in 1643. The song ―Jesous Ahatonhia‖ (translating to ‗Jesus is born‘) was originally written in the native language of the indigenous people, the Huron/Wendat people. The Huron were aboriginals who lived on the Georgian Bay near Lake Huron in Ontario. Trade routes were well established among First Nations groups around the Lake long before Europeans arrived. These trade networks helped the Huron become the first large group to make an alliance with the French to contribute to the fur trade. The fur trade became a political and cultural alliance for the French and Huron people; it was later enforced by Jesuit missionaries. It was a gift to these people from a Jesuit missionary named Jean de Brébeuf. The melody is taken from a traditional French folk song called ―Une jeune pucelle.‖ Interestingly, the song alludes to early 20th century Canada instead of the traditional nativity scene (i.e. surrounded by hunters instead of shepherds and the ‗Magi‘ bring ―fox and beaver pelts‖). http://www.youtube.com/watch?v=D6IG6F6E5Ac (in Wendat/Huron, French & English) http://www.youtube.com/watch?v=3D-m-PwKVsM (English version) Figs. 38-40: Christian depictions of the Huron/Wendat AIRS Songbook, English, January 2012 P a g e | 35 Canadian Song 6: The Red River Valley The Red River flows north from North Dakota, United States through Fargo and Grand Forks into Manitoba, Canada, where it continues northwards through Winnipeg and then empties into Lake Winnipeg. This river passes through farmland and regularly floods in the spring. This song is one of the most beloved songs of the prairies. Its melody was adapted from the late 19th century American song ―In the Bright Mohawk Valley.‖ The folk song is standard cowboy music but is controversial in its origin. Fig. 41: Painting of the Red River Valley by It is speculated that the song was written around the time of Red River Robert E. Wood, a famous Canadian artist Rebellion of the Métis people – the French-speaking aboriginals. The standard ‗soldier-sweetheart‘ song originated from the British military that entered Manitoba to confront the Métis people. This song tells the story of a prairie girl who is separated from her lover; she wishes for the times they once shared together. It is unknown whether this lover is British soldier or a Métis warrior. The original text of Canadian Folklorist Edith Fowke: It's a long time, you know, I've been waiting For the words that you never did say, Now alas! all my fond hopes have vanished, For they say you are going away. From this valley they say you are going. I shall miss your blue eyes and sweet smile, For you take with you all of the sunshine That has brightened my pathway a while. So consider a while ere you leave me, Do not hasten to bid me adieu, But remember the Red River Valley And the Red River girl who loved you. So remember the valley you're leaving, How lonely, how dreary it will be; Remember the heart you are breaking, And be true to your promise to me. As you go to your home by the ocean, May you never forget those sweet hours That we spent in the Red River Valley And the love we exchanged in its bowers. And the dark maiden's prayer for her lover To the Spirit that rules all this world Is that sunshine his pathway may cover And the grief of the Red River Girl. So consider a while ere you leave me, Do not hasten to bid me adieu, But remember the Red River Valley And the Red River girl who loved you. So remember the valley you're leaving, How lonely, how dreary it will be; Remember the heart you are breaking, And be true to your promise to me. Google images http://www.robertewood.ca/page9/files/the-little-red-river-valley-24x30.jpg http://www.youtube.com/watch?v=gooN9iu4EbM&feature=related AIRS Songbook, English, January 2012 P a g e | 36 CHINA Compiled by Bing-Yi Pan, University of Prince Edward Island, Canada AIRS Songbook, English, January 2012 P a g e | 37 BACKGROUND China (中国), the most populous country in the world with over 1.3 billion people, is located in East Asia. The total area of this country is about 9.6 million square kilometers or 3.7 million square miles. China has a land border of 22,117 km (13,743 miles), the largest in the world, and it borders 14 nations; counted clockwise from south: Vietnam, Laos, Burma, India, Bhutan, Nepal, Pakistan, Afghanistan, Tajikistan, Kyrgyzstan, Kazakhstan, Russia, Mongolia and North Korea. Fig. 1 the Great Wall at Badaling C ITIES Beijing (北京), a metropolis in Northern China with more than 20 million people, is China‘s capital city. Beijing is one of the Four Great Ancient Capitals of China. The Forbidden City is the landmark building of Beijing. The famous Great Wall at Badaling is located in urban Beijing. Fig. 2 the Forbidden City Shanghai (上海) is the most populous city in China. The city is located in eastern China, at the middle portion of the Chinese coast, and sits at the mouth of the Yangtze River. Due to its rapid growth in the last two decades, it has again become one of the world's leading cities, exerting influence over finance, commerce, fashion, and culture. Fig. 3 Shanghai AIRS Songbook, English, January 2012 P a g e | 38 Xi’an (西安) is one of the oldest cities in China, with more than 3,100 years of history. The city was known as Chang'an before the Ming Dynasty. Xi'an is one of the Four Great Ancient Capitals of China, having held that position under several of the most important dynasties in Chinese history, including Zhou, Qin, Han, Sui, and Tang. Xi'an is the eastern terminus of the Silk Road and home to the Terracotta Army. Fig. 4 Terracotta Army Hong Kong (香港) is one of two special administrative regions of China. With a land mass of 1,104 km. (426 sq. mi.) and a population of seven million people, Hong Kong is one of the most densely populated areas in the world. Hong Kong is one of the world's leading international financial centers. Fig. 5 Hong Kong E THNIC C OMMUNITIES Fig. 6 Stamps of 56 Chinese Ethnic groups AIRS Songbook, English, January 2012 P a g e | 39 The Han Chinese is the largest ethnic group, where some 91.59% of the population was classified as Han Chinese (~1.2 billion). Besides the majority Han Chinese, 55 other "nationalities" or ethnic groups are recognized in China. Below are pictures of some ethnics in China. Han (1,230,117,207) Uyghur (8,399,393) Zhuang (16,178,811) Miao (8,940,116) Man (10,682,263) Mongol (5,813,947) Fig. 7 Chinese ethnics (photo by Hai-wen Chen) AIRS Songbook, English, January 2012 P a g e | 40 R ELIGION Confucianism is the main religion of the Chinese, named after Confucius. There are also a number of people who follow the religions of Taoism, Buddhism, Islam and Christianity in China. Confucianism is the cornerstone of traditional Chinese culture. It is a complete ideological system created by Confucius, based on the traditional culture of the Xia, Shang and Zhou Dynasties. Confucianism has dominated a feudal society that in essence has lasted 2000 years and for that reason its influence over the history, social structure and the people of China cannot be overlooked. Fig. 8 Confucius Buddhism is one of the most important religions in China. It is generally believed that it was spread to China in 67 AD during the Han Dynasty (206 BC-220) from Hotan in Xinjiang to Central China. During its development in China, it has a profound influence on traditional Chinese culture and thoughts, and has become one of the most important religions in China at that time. Guan-yin is an important Bodhisattva in Chinese Buddhism. Fig. 9 Shakyamuni Buddha Taoism is a genuinely Chinese religion. Lao Zi was the creator of Taoism. He was a reputed thinker around 6th century B.C. There are many legends about Lao Zi but few historical records. He left a 5,000word book and went on his ox from Hangu Pass and to where nobody knows! Lao Zi's 5,000 words are rather concise compared to his profound ideological system but there were numerous books interpreting the true meaning of his book. Some hold the opinion that without understanding Taoism, there can be no understanding of Chinese culture. Fig. 10 Lao Zi L ANGUAGE Most languages in China belong to the Sino-Tibetan language family, spoken by 29 ethnicities. There are also several major linguistic groups within the Chinese language itself. The most spoken varieties are Mandarin (spoken by over 70% of the population), Wu, Yue (Cantonese), Min, Xiang, Gan, and Hakka. All of these are tonal languages. Non-Sinitic languages spoken widely by ethnic minorities include Zhuang (Thai), Mongolian, Tibetan, Uyghur (Turkic), Hmong and Korean. Classical Chinese was the written standard in China for thousands of years, and allowed for written communication between speakers of various unintelligible languages and dialects in China. Written vernacular Chinese, or baihua, is the written standard based on the Mandarin dialect and first popularized in Ming dynasty novels. It was adopted with significant modifications during the early 20th century as the national standard. Classical Chinese is still part of the high school curriculum and is thus intelligible to some degree to many Chinese. AIRS Songbook, English, January 2012 P a g e | 41 Fig. 11 The Sinitic Languages M ONETARY U NIT The Ren-Min-Bi (RMB) is the official currency of China. The primary unit of Ren-Min-Bi is the yuan. One yuan is subdivided into 10 jiao, which in turn is subdivided into 10 fen. Fig. 12 Renminbi Paper Currency AIRS Songbook, English, January 2012 P a g e | 42 G EOGRAPHY AND C LIMATE The territory of China lies between latitudes 18° and 54°N, and longitudes 73° and 135°E. It contains a large variety of landscapes. China is bordered in the north, west and south by deserts, and high mountains form natural barriers. The North China Plain in eastern China is the largest area of lowland in the world. Tibet, which is in the west, is a plateau, or tableland, more than 4,000 meters (13,123 ft) high and surrounded by the highest mountains in the world. It is known as the "rooftop of the world." To the south are the Himalayas, while to the northwest are the Kunlun, Tian Shan and Altai mountains. Eastern China also has mountains and hills, but much more level land than western China. Fig. 13 Topography of China Eastern China is divided north-south into two very different geographical areas. The boundary between the two is formed by the Qinling Mountains which stretch from east to west and separate the basins of the Yellow and Yangtze rivers. These mountains also form a major climatic divide. Four rivers and their tributaries provide China with its main plains. In the northeast the north-flowing Song-hua river and south-flowing Liao river form a lowland which is surrounded by mountains. The Yellow River and the Yangtze River (the 3rd longest in the world), both flowing out of Tibet, have built up a wide plain stretching from Tianjin south to Shanghai. Most of the country is in the northern temperate zone. There are complex climatic patterns ranging from the coldtemperate north to the tropical south. Annual precipitation varies significantly from region to region, with a high of 1,500 millimeters (59.1 in) annually along the southeastern coast and a low of less than 50 millimeters (1.97 in) in the northwest. A DMINISTRATIVE D IVISIONS The Constitution of China provides for three levels: the province, county, and township. However, two more levels have been inserted in actual implementation: the prefecture, under provinces; and the village, under townships. China administers more than thirty province-level regions, more than three hundred prefecturelevel regions, about three thousand county-level regions, more than forty thousand township-level regions and even more village-level regions. In province level, China has provinces, AIRS Songbook, English, January 2012 Fig. 14 Administrative map of China P a g e | 43 a standard provincial government, like Shandong, Guangdong, Liaoning, Sichuan, Zhejiang, etc; Autonomous Regions, a minority subject which has a higher population of a particular minority ethnic group along with its own local government, including Xinjiang, Tibet, Inner Mongolia, Guangxi and Ningxia; Municipalities, a higher level of city which is directly under the Chinese government, including Beijing, Shanghai, Tianjin and Chongqing; Special Administrative Regions, highly autonomous and self-governing sub-national subjects of China such as Hong Kong and Macau. F OOD & D RINK During a long period of production and living practice, the Chinese nation has made great contributions to the world with regard to food resource exploration, food treatment, nutrition and health care, dishware design and cuisine aesthetics. Chinese intellectuals have created countless dishes with apt names, aromas, flavors and colors, greatly enhancing the dining experience. During these four or five thousand years of development, Chinese cuisine developed various features in different periods and regions. Generally speaking, Chinese people mainly live on the five common cereals and vegetables, sometimes adding a small quantity of meat. This eating habit is formed by the mode of production which is centered by agriculture. Moreover, Chinese food makes cooked and hot food primary, which reflects the advance of culinary skills and early civilization of the country. Fig. 15 Jiao-Zi (North Chinese Cuisine) Chinese tea is regarded as an exquisite art form that requires sampling. Now it has become the national drink and one of three main soft drinks in the world (the other two are coffee and cocoa). It is from China that the tea planting techniques, processing, drinking methods and tea ceremony were directly or indirectly introduced to the world. So China is regarded proudly as the hometown of tea. The land can be divided into four tea growing regions: South China, Southwestern China, and Yangtze River's north and south banks. These vast tea planting areas widely grow various kinds of tea trees. Different teas require different tea sets to infuse the best flavor. Chinese tea sets mainly include teacup, teapot and tea saucer. Fig. 16 Chinese Tea Their materials differ in porcelain, pottery, lacquer ware, glass, bamboo and wooden fish stone. What's more, the tea ceremony, the soul of tea culture, is considered to be a good way to cultivate the mind. Through infusing, appreciating and tasting tea, people can nourish their inborn nature and promote friendship among each other. Alcohol may be featured at sumptuous banquets to ease the expression of diners' thoughts and feelings. But in the long process of Chinese history, it is not only an objective existence but also a cultural symbol. China is one of the earliest countries in the world to make alcohol, and the history can be traced back to prehistoric times. Since its appearance, it is not just a kind of drink, but it is also endowed with spiritual and cultural value which reflects in social/political life, literature, aesthetic ideas and lifestyle throughout China. AIRS Songbook, English, January 2012 P a g e | 44 From this point of view, to drink alcohol is actually to taste a culture. According to the historical records, as early as in the Shang Dynasty (16th - 11th century BC), Chinese people began to drink alcohol and use it to worship the Gods. FESTIVALS OF C HINA Here is a summary of the three most famous classical Chinese festivals: New Year Festival/Spring Festival (Chun Jie) Fig. 17: Chinese alcohol Chun Jie is the most important festival of the year. It is celebrated in late January or early February. The Western Calendar is different than Fig. 18: Lion Dance the Chinese Lunar Calendar, so Chun Jie falls on a different Western Calendar date each year. For the New Year Festival, people who live away from home return to spend the holiday with their families. Activities include paying respectful visits to elders, hanging paper cut-outs and couplets, and enjoying banquets. Children are given "lucky money" received in a red envelope called ―hong bao.‖ Foods and snacks have a symbolic meaning. The lion dance is also Fig. 19: Dragon Dance performed on New Year's during this festival. Lantern Festival The Lantern Festival is celebrated on the15th day of the first month, so it is always 15 days after Chun Jie. The original focus of this Festival was on agricultural fertility and rain. Dragon dances are performed. Lanterns are symbols which usher in light and warmth after a cold winter. The Lantern Festival means that the New Year celebration has come to an end. Dragon Boat Festival Dragon Boat Festival is held on the fifth day of the fifth month in the traditional Chinese lunar calendar to commemorate the hero Qu Yuan. He was a great poet and patriot of the State of Chu during Fig. 20: Lanterns the Warring States Period, and he committed suicide by jumping into a river. Qu Yuan is the Chinese example of an honest government official. At the Dragon Boat Festival, people eat zongzi. It is date-filled glutinous rice, wrapped in bamboo or lotus leaves and tied with natural black tendrils. They are both eaten and thrown into the AIRS Songbook, English, January 2012 P a g e | 45 rivers, to prevent fish from eating Qu Yuan's unfound body. Races are held between long, narrow boats which have dramatic, carved wooden dragonheads on their prows, symbolically satisfying the dragon just before the rainy season begins. Fig. 21: Dragon Boat Race C HINESE M EDICINE Fig. 22 Meridian figure Fig. 21 Yin and Yang theory in Chinese Medicine China was one of first countries to have a medical culture. In comparison with Western medicine, the Chinese method takes a far different approach. With a history of 5,000 years, it has formed a deep and immense knowledge of medical science, theory, diagnostic methods, prescriptions and cures. The Physiology of Chinese medicine holds that the human body's life is the result of the balance of yin and yang. Yin is the inner and negative principles, and yang, outer and positive. The key reason why there is sickness is because the two aspects lose their harmony. Seen from the recovery mechanism of organs, yang functions to protect from outer harm, and yin is the inner base to store and provide energy for its counterpart. Meridian theory, another important principle of Chinese Medicine, was developed based on Yin and Yang theory. Fig. 23 Huang Di Nei Jing, Su Wen , also known as < Yellow Emperor‘s Inner Canon>, which was written in the warring state period (B. C. 475 – B. C. 221)is the oldest Chinese medical text in existence. There are many other famous AIRS Songbook, English, January 2012 P a g e | 46 Chinese medicine books based on the principles founded my , one of them is (Compendium of Materia Medica) written by Shi-Zhen Li in 1578 (Ming Dynasty). C HINESE M ARTIAL A RTS Martial Arts are traditional Chinese sports which have developed over a long historical period. In order to survive the extremely hostile environment, primitive Chinese ancestors learned some primary means of attack and defense such as leaping, tumbling and kicking. Moreover, they generally knew how to fight with weapons made from stones and wood or bare-hand fighting. This is considered to be the origin of martial arts. The movements in martial art include kicking, boxing, wrestling and seizing, which are performed by rules. Various sects of martial arts exist. Generally speaking, Shao-lin Sect and Wu-dang Sect are the two most famous sects. As the old Chinese saying goes 'In the north, Shao-lin Kung fu is primarily recommended. While in the south, Wu-dang Kung fu is especially valued.' Both of them place emphasis on the external practice for Jing (genuine energy), Qi (vital energy) and Shen (spirit) and internal practice for muscle, bone and skin. Fig. 24 Martial artist Bruce Lee and his master IP Man Shao-lin Martial Arts Being an important part of Chinese traditional martial arts, Shao-Lin martial arts are considered to be the authentic Chinese Kung Fu. Originally, Shao-Lin Kung Fu was developed from the Shao-lin Temple, in the region of Song Mountain. While cultivating in the thick forest of the high mountains, monks created a set of body-building exercises by learning the postures of flying, jumping and running from birds, beasts and fish. Gradually, these body-building exercises developed into a sort of boxing through long practice and improvement, which is generally called 'Shaolin boxing'. Shao-lin martial arts include boxing, stick art, spear art, sword art and so on. Fig. 25 Shao-lin Kung Fu Wu-Dang Martial Arts Wu-Dang martial arts are greatly related to the Chinese native religion - Taoism. It is said that San-Feng Zhang, a Taoist who lived in the Song Dynasty (960-1279) created Wu-Dang martial arts. Wu-Dang Kung Fu emphasizes the strengthening of bones and muscles and internal cultivation, and encourages the use of softness to conquer the unyielding. It doesn't advocate attack but at the same time it is hard to defeat. Fig. 26 Wu-dang Kung Fu AIRS Songbook, English, January 2012 P a g e | 47 L ITERATURE To many Westerners, Chinese literature remains a hidden gem in the rich strata of Chinese culture. As a matter of fact, it is a treasure of a very considerable number of brilliant and profound works as each dynasty, in the long history of China, has passed down its legacy of magnificent events and works. For 3500 years, they have woven a variety of genres and forms encompassing poetry, essays, fiction and drama; each in its own way reflecting the social climate of its day through the high spirit of art. Chinese literature has its own values and tastes, its own reigning cultural tradition and its own critical system of theory. Here are the Four Famous Classical Chinese Literatures: Romance of the Three Kingdoms by Guan-zhong Luo tells of the military Fig. 27 TV show “Romance of events that happened during 169 - 280 in the reign of Eastern Han Dynasty. the Three Kingdoms” The three states Wei, Shu and Wu, each occupied a territory until finally the State Wei unified the whole. In this work, three figures are prominently portrayed – Ge-liang Zhu, Yu Guan and Cao Cao. Geliang Zhu's wit has always been admired and his name now has become a byword for inexhaustible resourcefulness. Guan Yu was depicted as a loyal general and Cao Cao as a man of duplicity. The Water Margin by Nai-an Shi is a heroic legend spread over many generations. Historically, official books would regard the insurrection of farmers as rebellion. However this book revealed that it was the ruling class that was pernicious to society. The plot of the story was a tragedy in which the righteous heroes died through the machinations of government. Each of the characters was really detailed and vivid. Fig. 28 TV show “The Water Margin” The Pilgrim to the West by Cheng-en Wu attached a greater center of attention on the figures. It tells a story of the pilgrimage of the honorable Tang Dynasty monk Xuan-zang to ancient India, together with his three disciples. From the novel you can experience the bravery and wit of Wu-kong Sun, the piety of Xuan-zang, the greed of Bajie Zhu, and the kindness of Cen Sha. In fact this story prevailed for a long time Fig. 29 TV show “The Pilgrim to before it was finally written down in its the West” entirety. When Wu Cheng'en wrote it, he combined shadow land and reality into an artistic world. Fig. 30 TV show “A Dream of Red Mansions” A Dream of Red Mansions is the pinnacle of ancient Chinese literature. The authors, Xue-qin Cao and E Gao artfully told the sorrowful love story of Bao-yu Jia and Dai-yu Lin, by weaving a tale of the wealthy and prosperous life as well as the degeneration of the Jias and other royal families. Reading the day-to-day detail expressed in the book, you will be dazzled by the minute detail of Chinese customs such as traditional attitudes AIRS Songbook, English, January 2012 P a g e | 48 toward different statues, the art of Chinese snacks, ladies' jewelry, etc. By reading the philosophical events in the work, you will also attain an insight into the society of the day. This is truly a perfect composition of the realistic and romantic art form. C ALLIGRAPHY In China calligraphy occupies a distinguished position in the field of traditional art. It is not only a means of communication, but also a means of expressing a person's inner world in an aesthetic sense. Ancient people paid great attention to calligraphy. It was the essential whereby a candidate could manifest his literary talent in the Imperial Examination, for it gave a first impression to the examiners. Children of high officials had to learn and try to write a good hand; even emperors themselves were good at calligraphy, for example, the versatile Emperor Qianlong in the Qing Dynasty (1644 – 1911) has left us many examples of his handwriting on steles in temples and palaces. Fig. 31 Lan Ting Xu, Xi-Zhi Wang Xi-Zhi Wang (303–361) was the most famous Chinese calligrapher, traditionally referred to as the Sage of Calligraphy, who lived during the Jin Dynasty (265–420). He is considered by many to be one of the most esteemed Chinese calligraphers of all time, especially during and after the Tang Dynasty, and a master of all forms of Chinese calligraphy, especially the running script. Lan Ting Xu is the most outstanding work of Xi-Zhi Wang. To practice calligraphy requires the basic tools of 'four treasures of study' (writing brush, ink stick, paper, and ink slab) as well as much concentration on guiding the soft writing brush charged with fluid ink, and writing on the paper where the ink will diffuse quickly. Once the brush movement hesitates, a black mark is created, so speed, strength and agility are the essence of fine artwork. When writing, many calligraphers will forget all worries and even themselves, combining all thoughts in the beauty of their art. Thus it can be compared with Qigong, which also can mould and improve a person's temper and promote well being. Calligraphy is still a very popular art style in modern China. Contemporary Calligraphers consider calligraphy as a pure art activity rather than a practical communicating or writing skill. For some of them, the overall visual experiences and the feeling excited by patterns are more important than the meanings of the characters themselves. Fig. 32 modern calligraphy, Zhi-Kai Pan P AINTING The tools used in traditional Chinese painting are paintbrush, ink, traditional paint and special paper or silk. Chinese painting developed and was classified by theme into three genres: figures, landscapes, and birds-andflowers. AIRS Songbook, English, January 2012 P a g e | 49 The birds-and-flowers genre has its roots in the decorative patterns engraved on pottery and bronze ware by early artists. Among the common subjects in this genre, which reached its peak during the Song Dynasty (960 - 1279), are flowers, bamboo, birds, insects, and stones. The genre flourished under Emperor Hui-zong (1082 1135), who was an artist himself and excelled at both calligraphy and traditional painting, especially paintings of exquisite flowers and birds. Fig. 33 Fu rong jin ji tu, Ji Zhao (Emperor Hui-zong) Painters who specialized in figures included images of immortals, emperors, court ladies, and common people in their works. Through their depictions of such scenes and activities as feasts, worship and street scenes, these artists reflected the appearance, expressions, ideals, and religious beliefs of the people. Chinese figure painting prominently features verve. The portrayal of figures saw its heyday during the Tang Dynasty (618 - 907). The master of painting, Dao-zi Wu (about 685 - 758), created many Buddhist murals and other landscape paintings that are marked by variety and vigor. One of his best known works is a depiction of the Heaven King holding his newborn son Sakyamuni to receive the worship of the immortals. Fig. 34 Tian wang song zi tu, Dao-Zi Wu As far back as the Northern and Southern Dynasties (386 589), landscape painting separated from the figure genre and continued to enjoy popularity through the Tang Dynasty. This style reflected people's fondness for nature. The artist's use of ink and brush to paint a landscape changed, depending on the scenery itself, the weather (sunny or rainy day), the time of day (morning or night), and the season. The earliest known landscape painting was the Spring Outing by of the Sui Dynasty (581 - 618). It shows an enchanting spring scene with people enjoying popular activities: gentlemen riding and ladies boating. A waterfall behind a bridge, near slopes and distant mountains are drawn with clear, fluent lines. Fig. 35 You chun tu, Zi-Qian Zhan M USIC Traditional Chinese music can be traced back 7,000 - 8,000 years based on the discovery of a bone flute made in the Neolithic Age. In the Xia, Shang and Zhou Dynasties, only royal families and dignitary officials enjoyed music, which was made on chimes and bells. During the Tang Dynasty, dancing and singing entered the mainstream, spreading from the royal court to the common people. With the introduction of foreign religions such as Buddhism and Islam, exotic and religious melodies were absorbed into Chinese music and were enjoyed by the Chinese people at fairs organized by religious temples. AIRS Songbook, English, January 2012 P a g e | 50 In the Song Dynasty, original opera such as Zaju and Nanxi was performed in tearooms, theatres, and showplaces. Writers and artists liked it so much that Ci, a new type of literature resembling lyrics, thrived. During the Yuan Dynasty, qu, another type of literature based on music became popular. This was also a period when many traditional musical instruments were developed such as the pipa, the flute, and the zither. Fig. 36 Chime-bells (ancient Chinese instrument used in royal court) During the Ming (1368 - 1644) and Qing Dynasties (1644 1911), the art of traditional opera developed rapidly and diversely in different regions. When these distinctive opera styles were performed at the capital (now called Beijing), artists combined the essence of the different styles and created Beijing opera, one of four cornerstones of Chinese culture (the other three being Chinese medicine, Chinese Kong fu and Chinese Calligraphy) which continue to be appreciated even in modern times. Besides these types of music, Chinese peasants were clever enough to compose folk songs, which also developed independently with local flavor. Folk songs described working and daily life such as fishing, farming, and herding and were very popular among the common people. Traditional Chinese musical instruments can be divided into four categories: stringed instruments, percussion instruments, plucked instruments, and wind instruments. The following are just a few of them: Gu-qin The gu-qin, literally "ancient stringed instrument", is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as highlighted by the quote "a gentleman does not part with his qin or se without good reason," as well as being associated with the ancient Chinese philosopher Confucius. It is sometimes referred to by the Chinese as "the father of Chinese music" or "the instrument of the sages". Fig. 37 Gu-qin Er-hu The Er-hu, also called 'Hu-qin', was introduced from the western region during the Tang Dynasty. During the Song Dynasty (960 - 1279), it was refined and improved and new variations appeared. It was also an important instrument for playing the melody of Beijing Opera. When playing, the player usually stands the Er-hu on his lap, and moves the bow across the vertical strings. The well-known music 'Two Springs Reflect the Moon' was created by the blind folk artist Yan-jun Hua, also named A-bing by the people. Though he could not see anything of the world, he played his Er-hu using his heart and imagination. This melody conjures up a poetic night scene under the moonlight and expresses the composer's desolation and hope. Fig. 38 Er-hu AIRS Songbook, English, January 2012 P a g e | 51 Flute (Di-zi) The earliest flute was made from bone over 7,000 years ago. In the times since then, most flutes were made of bamboo, which allowed even common people to play it. By covering the holes and blowing through the side hole while moving the fingers flexibly between the six holes, a sound will be produced that is leisurely and mellifluous like sound from far away. This always reminds people of a pastoral picture of a farmer riding on a bull while playing a flute. Fig. 39 Di-zi Lute (Pi-pa) Originally named after the loquat fruit, the earliest pi-pa known was found to have been made in the Qin Dynasty (221 BC – 206 BC). By the Tang Dynasty (618 - 907), the pipa had reached its summit. It was loved by everyone--from the royal court to the common folk--and it occupied the predominant place in the orchestra. Many well known writers and poets created poems and mentioned it in their works. Ju-yi Bai, the master poet, vividly depicted the performance like this: rapid and soft notes mingled were just like big and small pearls dropping onto the jade plates. Afterwards, the pi-pa underwent improvement in playing techniques and structure. Players then changed from holding the pi-pa transversely to holding it vertically, and from using a pick to using the fingers to pluck the strings directly. In modern times, the volume and resonance has also been improved. The traditional music work 'Spring Moonlight on the Flowers by the River', which has a history of over one hundred years, has brought harmony and a sense of beauty to untold numbers of people. Fig. 40 Pi-pa Horse-Headed Fiddle The Horse-headed fiddle is a bowed stringed-instrument with a scroll carved like a horse's head. It is popular in Mongolian music. Its wide tonal range and deep, hazy tone color express the joy or pathos of a melody to its fullest. The Mongolian people bestowed upon their beloved horse-headed fiddle a fantastic legend: during horse-racing at the Nadam Fair -- their featured grand festival--a hero, Su He, and his white horse ran the fastest, which incurred the envy and wrath of the duke. The cruel duke shot the horse dead, and Su He grieved so much that he met his horse in a dream. In the dream, the horse told Su He to make a fiddle from wood and the hair of a horse's tail, and to carve the head of the fiddle in the shape of a horse's head. The lad followed the horse's advice and when he finished, the fiddle produced an extremely vivid sound. From then on, people loved this instrument and composed many songs for it. Fig. 41 Horse-Headed Fiddle AIRS Songbook, English, January 2012 P a g e | 52 SONGS Chinese Song 1: SHU HA MA (Toad Song)* Song Type: Children’s Song 一 只 yi zhi 跳 下 tiao xia 蛤 ha 水 shui 蟆 ma 一 张 嘴， yi zhang zui, 呀， 蛤 蟆 不 吃 水， ya, ha ma bu chi shui, 荷 儿 妹 子 兮， he er mei zi xi, 水 上 漂。 shui shang piao. 两 只 liang zhi 眼 睛 yan jing 太 平 年， tai ping nian, 荷 儿 妹 子 兮， he er mei zi xi, 四 条 腿， si tiao tui, 乒 乓 乒 乓 ping ping pang pang 蛤 蟆 不 吃 水， ha ma bu chi shui, 太 平 年。 tai ping nian. 水 上 漂。 shui shang piao. This playful children‘s song is from Sichuan Province, China. The melody flows and jumps, like a toad, with its particular structure of word phrases: 2+2+3. Through singing the Toad Song, children can learn about simple counting and multiplication. Although the toad is not a beautiful animal, in traditional Chinese culture the toad is associated with wealth. The song is based on the story of ―the Golden Toad.‖ Hai Liu, a good immortal man (who lives forever and has supernatural powers), was traveling in China to help people. One day, he met a bad toad who was gobbling up the gold coins of nice people every day. After a tough fight with the toad, Hai Liu finally defeated the toad and broke one of its legs. Now the toad had only three legs left. After that, the toad did not eat the gold coins of nice people any more, but Fig. 42 The Golden Toad instead ate the gold coins of bad people. The toad then gave the coins to nice people who worked hard for a living. Even today, many Chinese people display a golden toad with three legs in their home to pray for prosperity. When singing this song, you can imagine yourself as a little toad, watching the broad and beautiful cornfields. It is summer time, beside a pool, lotus flowers are blooming, cicadas are singing. It is very hot. The small toads stretch themselves comfortably, and then jump into the water one after another like a group of diving princes. Pretty dimples and wide circles are spread from the points on the water surface into which the toads jump. Fig. 43 Playful Toads AIRS Songbook, English, January 2012 P a g e | 53 一只蛤蟆 一只蛤蟆一张嘴 One Toad One toad, one mouth 两只眼睛四条腿 Two eyes, four legs 乒乒乓乓跳下水 Ping Ping Pang Pang jump into the water 蛤蟆不吃水太平年 Toads don‘t eat water, a good year 蛤蟆不吃水太平年 Toads don‘t eat water, a good year 荷儿梅子兮，水上漂。 Lotus leaf and plum are floating on the water 荷儿梅子兮，水上漂。 Lotus leaf and plum are floating on the water Videos: http://www.youtube.com/watch?v=_IFE8NZc3qw http://www.youtube.com/watch?v=9PJ4w4pVG74 Chinese Song 2: HONG CAI MEI MEI (Rainbow Sister) Song Type: Folk Song 红 hong 彩 cai 长 zhang 的 de 樱 ying 桃 tao 一 yi 点 dian 妹 mei 妹 mei 好 hao 那 na 小 xiao 点 dian 嗯 en 么 me 嗯 en 口 kou 那 na 么 me 唉 ai 唉 ai 嗯 en 嗯 en 唉 ai 唉 ai 嗨 hai 呦！ yo！ 嗨 hai 呦！ yo！ 嗨 hai 呦！ yo！ 嗨 hai 呦！ yo！ Rainbow Sister is a folk song from Inner Mongolia. This song combines the melodic features of both Mongol and Han nationality to depict a fascinating scene. A Mongolian girl, wearing her traditional robe, boots and accessories, is playing with her horse and dancing with butterflies; a Mongolian boy falls in love with the dancing girl as he witnesses the beautiful display. Besides the glamour of the song itself, there are many popular recordings and performances by pop singers, including Li-Jun Deng, which have increased its familiarity among Chinese people of all ages. Fig. 44: Typical Mongolian Scenery AIRS Songbook, English, January 2012 P a g e | 54 Fig. 45: Traditional Mongolian Dress 红彩妹妹 Fig. 46: Li-Jun Deng a Popular Chinese Pop Singer 红彩妹妹嗯唉哟 Rainbow sister Rainbow sister, 长得好那么嗯唉哟 you are beautiful, 樱桃小口嗯唉哟 your lips looks like cherry, 一点点那么嗯唉哟 small and sweet. 三月里来桃花开 Peach blooms in March, 我与妹妹成恩爱 I married you, 八月中秋月正圆 Moon is round in Mid-August Festival, 想起了妹妹泪涟涟。 I am missing you. Videos: http://www.youtube.com/watch?v=OdybD67OZC4 http://www.youtube.com/watch?v=JRjZz4BfTwg Chinese Song 3: GONG XI GONG XI (Happy New Year) Song Type: Festival Song 每 mei 条 tiao 见 面 jian mian 恭 gong 大 da 第 di 喜 恭 xi gong 街 jie 一 yi 喜 xi 小 xiao 巷， xiang, 句 ju 话， hua, 恭 喜 gong xi 你 ni AIRS Songbook, English, January 2012 每 个 mei ge 就 jiu 呀！ ya! 是 shi 恭 Gong 人 ren 的 de 嘴 zui 里。 li. 恭 gong 喜 xi 恭 gong 喜! xi! 喜 恭 xi gong 喜 xi 恭 喜 gong xi 你！ ni! P a g e | 55 Happy New Year is a wild spread ―new year song‖ of south China and Southeast Asia. Rather than a folk song that it sounds like, Happy New Year was composed by Ge-Xin Chen, one of the most famous pop music composers of early 20th century China. His master work is Rose, Rose, I love you. Chinese New Year – often called Chinese Lunar New Year although it actually is lunisolar – is the most important of the traditional Chinese holidays. It is an all East- and South-East-Asian celebration. In China it is known as "Spring Festival," which is the literal translation of the Chinese name 春节 (Pinyin: Chūn Jié). There is a difference between Western and traditional Chinese methods for computing the seasons of the year. In China, ―Spring Festival‖ marks the end of the winter season, analogous to the ―Carnival‖ in some Western countries such as Brazil. The Chinese festival begins on the first day of the first Fig. 47: Chinese New Year Picture (Golden boy and jade girl) month (Chinese: 正 月; pinyin: Zhēng Yuè) in the traditional Chinese calendar and ends with Lantern Festival which is on the 15th day of the same month. Chinese New Year's Eve is an important day when Chinese families gather for their annual reunion dinner, known as Chú Xī (除夕) or "Eve of the Passing Year." 恭喜恭喜 每条大街小巷 Happy New Year In all the streets 每个人的嘴里 Everybody is preparing this sentence 见面第一句话 For everybody you meet 就是恭喜恭喜 Happy New Year 恭喜恭喜恭喜你呀 Happy New Year 恭喜恭喜恭喜你 Happy New Year 冬天已到尽头 Winter is leaving 真是好的消息 It‘s a good news 温暖的春风 The warm spring wind 吹醒了大地 Awake the earth 恭喜恭喜恭喜你呀 Happy New Year 恭喜恭喜恭喜你 Happy New Year 恭喜恭喜恭喜你呀 Happy New Year 恭喜恭喜恭喜你 Happy New Year Fig. 48: One custom of Spring Festival is making New Year scrolls Fig. 49: Composer Ge-Xin Chen Videos: http://www.youtube.com/watch?v=CBCKq0uLFdQ&feature=fvst (original recording) http://www.youtube.com/watch?v=kGJb38u82Zo&feature=related AIRS Songbook, English, January 2012 P a g e | 56 Song 4: DIU SHOU JUAN (Drop the Handkerchief) Type: Children’s Game Song 丢手绢 Drop the Handkerchief 丢，丢，丢手绢 Drop, drop, and drop the handkerchief, 轻轻的放在小朋友的后面 Drop quietly behind your friend, 大家不要告诉他 And no one will tell, 快点快点抓住他/她 Hurry, hurry, and catch him/her. 快点快点抓住他/她 Hurry, hurry, and catch him/her. Fig. 50 Children‟s game “Drop the Handkerchief” Drop the Handkerchief is a Chinese traditional children‘s game. To play, a dozen or so players sit in a circle, facing the center. One player runs around outside the circle with a handkerchief, as the players in the circle chant While running around the circle, the player with the handkerchief can drop it behind anyone without being detected. After running another round, the player will signal the selected child by tapping lightly on his or her back. That child will have to pick up the handkerchief at the signal and spring up to run after the first player, before the first player runs completely around the circle again and sits in his/ her spot. If the child fails to catch the first player, she or he must accept defeat, step into the center of the circle, and perform a talent show. If the child catches the first player on the way around the circle, the first player will have to come to the center of the circle to perform, and then start the game over again. AIRS Songbook, English, January 2012 P a g e | 57 Lyrics by Kan Bao (1916~) Music by He-Yan Guan (1921~2005) Fig. 51-52 Kan Bao and He-Yan Guan Chinese Song 5: MO LI HUA (Jasmine flower) Song Type: Folk Song AIRS Songbook, English, January 2012 P a g e | 58 茉莉花 Jasmine Flower 好一朵美丽的茉莉花 What a beautiful jasmine flower 好一朵美丽的茉莉花 What a beautiful jasmine flower 芬芳美丽满枝桠 Sweet-smelling, beautiful, stems full of buds 又香又白人人夸 Fragrant and white, everyone praises 让我来将你摘下 Let me pluck you down 送给别人家 Give to someone 茉莉花呀茉莉花 Jasmine flower, oh jasmine flower This song is about Jasmine Flowers which are beautiful and have good smell. Yet t hey are very strong and can stand against the wind and rain. The underlying message is to encourage people to be face their difficulties and be strong like Jasmine Flowers. The original of the song ―Jasmine flower‖ is the xiao diao (小调, a style of Chinese lyric folk song) ‗flower song‘ which has been spreading for hundreds of years. There are many different versions of ―jasmine flower‖ in different location, like Hebei, Zhejiang, Jiangsu, etc. These versions of ―Jasmine flower‖ often share more similar lyrics and less similar melodies. Fig. 53 Jasmine flower The Jiangsu version ―Jasmine flower‖ is the most well-known one for western people, which was firstly introduced in 1804 by an English scholar John Barrow in his book Travel in China. He names this song ―Moo-Lee-Wha‖, which is the ―Mo-LiHua‖ in Jiangsu dialect. The melody has become well known among Western listeners as it was included by Giacomo Puccini in his opera Turandot, where it is associated with 'Turandot's splendor'. In 2008, Mo Li Hua was chosen to be one of the music themes for the Olympics in Beijing. Fig. 55 Music sheet copied from Travels in China, John Barrow, 1804 AIRS Songbook, English, January 2012 P a g e | 59 Chinese Song 6: QING CHUN WU QU (Youth Dance Song) Type: Arranged Folk Song 青春舞曲 Youth Dance Song 太阳下山明早依旧爬上来 The sun goes down at night and rise up in the morning 花儿谢了明年还是一样的开 The faded flowers will bloom again in the new year 美丽小鸟一去无影踪 The beautiful birds will fly away and never be back 我的青春小鸟一样不回来 My youth time is like the bird can never be restrained 我的青春小鸟一样不回来 My youth time is like the bird can never be restrained 别的那样呦 Bie de na yang you 别的那样呦 Bie de na yang you 我的青春小鸟一样不回来 My youth time is like the bird can never be restrained AIRS Songbook, English, January 2012 P a g e | 60 ―Youth Dance Song‖ is a well-know song adapted from dance music of Uygur people in Xinjiang location by Luo-Bin Wang in year 1939. The melody of ―Youth Dance Song‖ is in Xinjiang style which uses different musical scale system than Han‘s style music. The Uyghur (维吾尔) are a Turkic ethnic group living in Eastern and Central Asia. Today, Uyghur live primarily in the Xinjiang Uyghur Autonomous Region in China. An estimated 80% of Xinjiang's Uyghurs live in the southwestern portion of the region, the Tarim Basin. Muqam is the classical musical style of Uyghur. Luo-Bin Wang (1913-1996) is one of the most outstanding Chinese musicians in 20th century, who has composed music for seven operas and composed, organized or adapted more than 1000 songs. Because that Luo-Bin deeply Fig. 54 Dance of Uygur people loved Northwestern China culture and music, most of Luo-Bin Wang‘s songs are in Northwestern China folk song style; this is also the reason that people call him ―King of the Northwestern Songs‖. Fig. 55 Luo-Bin Wang (1913 - 1996) REFERENCES INTRODUCTION OF CHINA http://en.wikipedia.org/wiki/People's_Republic_of_China http://www.crystalinks.com/chinawallarge.gif Cities http://en.wikipedia.org/wiki/Beijing http://upload.wikimedia.org/wikipedia/commons/b/b9/Gugun_panorama-2005-1.jpg http://en.wikipedia.org/wiki/Shanghai http://vod.hydcedu.com/uploadwork/netstudywork/20101026203724.jpg http://en.wikipedia.org/wiki/Xi%27an http://en.wikipedia.org/wiki/File:Terracotta_Army_Pit_1_-_7.jpg http://en.wikipedia.org/wiki/Hong_kong http://en.wikipedia.org/wiki/File:Hong_Kong_Skyline_Restitch_-_Dec_2007.jpg Ethnic Communities http://pic4.nipic.com/20090812/1749738_102208034_2.jpg http://en.wikipedia.org/wiki/List_of_ethnic_groups_in_China http://bbs.huanqiu.com/tushuoshijie/thread-263074-1-1.html Religion http://www.travelchinaguide.com/intro/religion/confucianism/ http://news.ifeng.com/history/1/renwu/200904/0424_2665_1124243.shtml http://www.travelchinaguide.com/intro/religion/buddhism/ http://a1.att.hudong.com/02/56/01300000167306121317562292025.jpg http://www.travelchinaguide.com/intro/religion/taoism/ AIRS Songbook, English, January 2012 P a g e | 61 http://www.jptranslate.com/attachments/2010/05/139944_201005141537126eiVI.jpg Language http://en.wikipedia.org/wiki/Chinese_language http://ngmchina.com.cn/bbs/attachments/month_0809/20080928_3017b0337437b6b2bb8fR2p9sn3lBRMC.jpg.th umb.jpg Monetary Unit http://en.wikipedia.org/wiki/RMB http://pica.nipic.com/2008-06-21/2008621151148110_2.jpg Geography and Climate http://en.wikipedia.org/wiki/China#Geography_and_climate http://en.wikipedia.org/wiki/File:China_100.78713E_35.63718N.jpg Administrative Divisions http://en.wikipedia.org/wiki/Administrative_divisions_of_the_People%27s_Republic_of_China http://www.orientaltravel.com/image/map01.jpg Food & Drink http://www.chinesenewyear.me/chinese-food-culture.html http://www.cucas.edu.cn/uploads/image/Dumplings.jpg http://www.tour-china-guide.com/chinese-culture/chinese-tea/about-chinese-tea.html http://www.stephenpickering.com/wordpress/wp-content/uploads/2009/10/TeaSet3.jpg http://www.travelchinaguide.com/intro/cuisine_drink/ http://www.ixiaoma.com/uploads/allimg/110217/15_110217093354_1.jpg Chinese Medicine http://en.wikipedia.org/wiki/Chinese_medicine http://imgsrc.baidu.com/baike/abpic/item/72b19c02cd6ae03a4afb515f.jpg http://www.chinesemedicines.net/upload/2007_06/07060408469504.jpg Chinese Martial Arts http://www.travelchinaguide.com/intro/martial_arts/ http://www.kungfunews.com/kungfu/2008_12/08123111109234.jpg http://english.peopledaily.com.cn/200503/12/images/shaolin5.jpg Literature http://www.travelchinaguide.com/intro/literature.htm http://cimg.163.com/catchpic/D/D9/D9BF9136DFB22D5E88D4020A99D9747F.jpg http://wgj.sh.gov.cn/node2/node741/node742/node755/images/29741.jpg http://www.fun9.cn/uploadfile/tvpic/uploadfile/201010/20101006112750282.jpg http://imgsrc.baidu.com/forum/pic/item/ebefab64876b13e4f736545e.jpg Calligraphy http://www.chinakindnesstour.com/Chinainfo/features/arts/Chinainfo_165.shtml http://upload.wikimedia.org/wikipedia/commons/thumb/f/f1/LantingXu.jpg/850px-LantingXu.jpg http://img849.ph.126.net/dLtHIFq-lr7zI487wN9SSA==/562949953422277214.jpg Painting http://arts.cultural-china.com/en/62Arts4810.html http://images.china.cn/attachement/jpg/site1000/20071204/000cf1bdcc9708bf3ac235.jpg http://image.wangchao.net.cn/baike/1258079334578.jpg AIRS Songbook, English, January 2012 P a g e | 62 http://www.zhgczx.com/upload_files/article/71/4_20090630100653_eZFWs.jpg Music http://www.travelchinaguide.com/intro/arts/chinese-music.htm Teaching materials for the course ―Introduction of Chinese Music‖, Fan Zhang, Graduate University of Chinese Academy of Sciences, Beijing, China. http://en.wikipedia.org/wiki/Guqin http://en.wikipedia.org/wiki/Erhu http://www.china.org.cn/english/travel/227212.htm http://www.chinatourselect.com/Travel-China-Guide/China-Information/China-Culture/%20China-MusicalInstruments.html http://en.wikipedia.org/wiki/Morin_khuur SONGS SELECTED FOR AIRS PROJECT TOAD SONG http://www.pep.com.cn/yinyue/yyjs/yytbjx/1x/jakl/201008/t20100831_845691.htm http://baike.baidu.com/view/2381802.htm http://t1.gstatic.com/images?q=tbn:ANd9GcSR1-ppupVA0x0vHZktZvmgCpYdqRMk8iQ8X3PwMe90puyFc2_h HONG CAI MEI MEI http://baike.baidu.com/view/3058351.htm GONG XI GONG XI http://baike.baidu.com/view/5012244.htm http://en.wikipedia.org/wiki/Chinese_New_Year DIU SHOU JUAN The magic lotus lantern and other tales from the Han Chinese，Haiwang Yuan, p54 http://baike.baidu.com/view/183178.htm http://imgsrc.baidu.com/baike/pic/item/d4239b357c153d2a91ef3921.jpg http://hunan.voc.com.cn/img/2005-12/22/B040A.JPG http://imgsrc.baidu.com/baike/abpic/item/90cebeec09a84b01269791ab.jpg http://youtu.be/3P0lGkM3PPk MO LI HUA http://en.wikipedia.org/wiki/Mo_Li_Hua http://www.gutenberg.org/files/28729/28729-h/28729-h.htm http://a3.att.hudong.com/83/72/01300000195282124302724469920.jpg http://www.gutenberg.org/files/28729/28729-h/images/i_mooleewha.png http://youtu.be/38Ur-WBuRto QING CHUN WU QU http://en.wikipedia.org/wiki/Uyghur_people http://baike.baidu.com/view/26628.htm http://baike.baidu.com/view/763035.htm http://www.eeloves.com/upload/mem/09/08/21/200908211103045389.jpg http://www.winktolearn.com/Printables-SING-to-LEARN-Chinese-DVDs-Lyrics/lyrics-sing-to-learn-chinesevol-2-chinese-lyrics-with-english-translation.html http://www.china001.com/ifile.php?xname=PPDDMV0&fname=1259119708.jpg http://youtu.be/InHwbgQXBes AIRS Songbook, English, January 2012 P a g e | 63 KENYA Compiled by Elizabeth A. Andang’o, Kenyatta University, Kenya AIRS Songbook, English, January 2012 P a g e | 64 BACKGROUND The Flag of Kenya The Kenyan flag has 4 main colors, namely black, white, red and green. It also has a shield in the middle. The colors are symbolic. Black stands for the color of the people of Kenya. White stands for peace. Red signifies the blood that was shed when Kenyans fought for the freedom to rule their country, while green stands for the land of Kenya. The shield is a reminder to Kenyans that they must always protect their country. Figure 1 Flag of Kenya Kenya is situated on the eastern coast of Africa. The country lies astride the equator. Its total area, including its water masses, is 582,650 sq. km (224,962 sq. miles). Her neighbors are Sudan and Ethiopia on the North, Somalia on the East; the Indian Ocean on the south-east, Tanzania on the South, and Lake Victoria and Uganda on the west. Population By mid 2007, Kenya‘s population stood at 36.9 million (Population Reference Bureau, 2008). The 2009 census results are yet to be released, but Kenya‘s growth rate is 1.6 per cent. It is therefore likely that this figure had increased significantly. Figure 3 Kenyatta International Conference Centre in Nairobi Figure 2Map of Kenya C APITAL C ITY Kenya‘s capital city is Nairobi. The name ―Nairobi‖ is derived from one of Kenya‘s indigenous languages, the Maasai language. It means ―the place of cold waters.‖ Nairobi is said to be one of the cities with the best climate in the world. It gets neither too hot nor too cold throughout the year. This city is located in the south-central part of the country. It is the economic and cultural hub of Kenya and the wider East Africa community. Kenyatta International Conference Centre is the building most associated with Nairobi. It is a 27-floor building with a cone-shaped amphitheatre situated next to it. This building hosts many important national and international meetings. It is named after the first President of Kenya, the late his Excellency Jomo Kenyatta. E THNIC C OMMUNITIES Kenyans are generally trilingual. This means that every Kenyan speaks at least 3 languages. These include an indigenous language, English, which is the official language of communication, and Kiswahili, the national language. Kiswahili is also the main language spoken in East Africa. Kenya has about 42 indigenous ethnic groups. These groups are classified under 3 Kenyan communities fall under 3 primary groupings:  The Bantu. This group have been coming into Kenya since 500 BC from West Africa. Some of the ethnic groups included in this group are the Kikuyu, Luhya, Kamba, Kisii and the Coastal communities living around the Indian Ocean. The largest ethnic group in this category is the Kikuyu. They are mainly an agricultural community with strong AIRS Songbook, English, January 2012 P a g e | 65 business skills. Their farmland sustains much of the city of Nairobi with food and milk. They also grow coffee and tea both for local consumption and export. The Luhya are also from the Bantu group. They are gifted in music. They enjoy singing and dancing. They have a drum ensemble known as Isukuti, which consists of 3 drums. The biggest drum in the ensemble is referred to as the father, the medium one as the mother and the smallest is known as the child. They dance vigorously, shaking their shoulders and moving their feet in time to the music. They are also very religious by nature.  The Nilotes This group arrived from Sudan and Egypt around 1000BC. The Luo, Kalenjin and Maasai fall in this category. The most famous ethnic group in this category are the Maasai, who live in the south of the country. The Maasai are pastoralists. They herd cattle and goats. They are proud and beautiful. They enjoy wearing loads of beads and dressing in red colorful cloth. The women do the daily chores and build the houses, which are known as manyattas. These houses are built using cow dung and sticks. Figure 2 Maasai and Child Outside Manyatta (photo from itsafaris.com) The men look after the cattle and goats, and make decisions for the community. The men are also known for their dancing. They jump straight up into the air. They can jump very high in this way. The Maasai have also given many of the Kenyan towns and the city its name. This is because as pastoralists, they pass through many towns as they search for pasture for their animals. As they come to a town, they name it. The Luo are also Nilotes who live on the shores of Lake Victoria to the west of Kenya. This Lake is one of the African Great Lakes, and is Africa‘s largest lake. It is also the world‘s second largest fresh water lake. They are traditionally fishermen. A third Nilotic community is the Turkana, who live in the north-west of the country. Among all Kenyan communities, some of the nilotes have kept their traditions especially in terms of clothing and lifestyle. A few pictures are seen below.  The Cushites They came from Somalia and Ethiopia from around 2000BC. They are a very small portion of Kenya‘s population. The Somali is the largest ethnic group in this category. Their land is mostly desert, in the northern part of Kenya. Ethnic groups such as the Boran, Rendille and Orma belong to this category. The Bantu, Niltes and Cushites make up approximately 98% of Kenya‘s population. The remaining 2% of Kenya‘s population consists of Arabs (Waswahili), Europeans and Asians. The Swahili live along the coast of the Indian Ocean. They have mixed and intermarried with settlers from different parts of the world. They are famous for their ship-building skills and woodwork. Figure 3 A Rendille Man The Asians came into Kenya to build the cross-country railroad long before Independence in 1963. Most of them are Indian. There are very few Chinese and other East Asians. This group is mainly business-oriented. Some of Kenya’s Peoples Who Have Retained their Traditional Attire Maasai men wear red cloths and beads. They are warriors, always ready to protect their cattle from raiders. Figure 4 Maasai Warrior AIRS Songbook, English, January 2012 P a g e | 66 Traditionally, the Turkana also wear a lot of beads. They also pierce their ears and wear large ear rings. Despite the fact that she is dressed in modern clothes, this woman from the Nandi community has pierced her ear. It hangs down loosely. This was a sign of beauty in the traditional Nandi society. Both men and women pierced their ears in this way. Figure 5 Turkana Man Figure 6 Nandi Woman Although modern men and women dress in western attire, they have also kept their traditions. This lady sells necklaces, bracelets and ear rings at a popular weekend Market known as the ‗Maasai Market.‘ She wears the maasai attire to attract customers. Figure 7 Maasai Woman The Rendille are one of the most popular Cushitic communities. They live in Northern Kenya. Figure 8 Rendille Woman R ELIGION Although Kenya is a secular state, the majority of her population is Christian, with 38% as Protestants and 28% as Roman Catholics. An additional 26% follow diverse indigenous religious systems unique to East Africa, while 7% subscribe to Islam. There are also religions like Hinduism and Judaism among a minority of Kenyans. This Anglican Church is built in line with English architecture. It is a vital part of Kenya‘s history as a colony of Britain. Figure 9 All Saints Cathedral in Nairobi M ONETARY U NIT The Kenya shilling is the currency of the country. There are 100 cents in 1 shilling. The shilling is in denominations of 1, 5, 10, 20, 100, 200, 500 and 1000. Figure 10 Different Denominations of Kenyan Money AIRS Songbook, English, January 2012 P a g e | 67 C HIEF EXPORTS The country mainly exports tea, coffee, horticultural products and petroleum products. Tea is a popular drink in Kenya. Kenyans say ‗anytime is tea time.‘ Tea is a popular breakfast drink, and can be taken all day. Figure 11 Tea Plantation Figure 12 the Indian Ocean off the Coast of Mombasa G EOGRAPHY AND C LIMATE Kenya is generally a dry country. Over 75% of the land is arid or semiarid. Only about 20% is suitable for agriculture. At the coast of the Indian Ocean, the climate is warm and humid. The central highlands are cool and humid, while it is hot and dry in the north and the east. Rainfall is strongly seasonal in most parts of the country. The rainy seasons vary, with most areas having long rains in November and April. In the interior, especially towards the North, the climate is arid. In Kenya, when one wants to see the Indian Ocean, they visit the Coastal area of Mombasa. This part of Kenya is the popular holiday destination both for Kenyans and visitors from other countries. The Kenyan coast has some of the most beautiful beaches. In terms of topography, there is an interesting variety. There are glaciated mountains (e.g. Mount Kenya in the Central Kenyan Highlands). This area, referred to as the central province, is raised, with the Aberdare Mountains and Mount Kenya to the east. To the west are the Mau escarpments and Cherangani hills. Figure 13 Mount Kenya The Great Rift Valley with its volcanoes and escarpments is a major feature of the country. Around it there are hills and flat desert landscapes. The Rift Valley runs the length of the country from Lake Turkana in the north to Lake Natron on the country‘s southern border with Tanzania. Figure 14 Part of the Rift Valley To the western side of the country, there is the Nyanza plateau which surrounds Lake Victoria. Lake Victoria provides tilapia, Nile perch and other fish. These are enjoyed by the Luo, who live around the Lake, as well as other Kenyans. Figure 15 Lake Victoria AIRS Songbook, English, January 2012 P a g e | 68 These stones are a natural formation. They are a great tourist attraction. Their name Kit Mikayi literally means ‗the stone of the first wife.‘ In the Luo community, where they are found, it is believed that even if a man marries many wives, the first wife is the most respected. Figure 16 Kit Mikayi Figure 17 Northern Kenya To the north there is rugged low country around Lake Turkana. Most of Northern Kenya is desert. This area records the highest temperatures in the entire country. A DMINISTRATIVE D IVISIONS OF K ENYA SUDAN ETH IOPIA EASTERN S UG ANDA O RIFT VALLEY M NORTH EASTERN A L WESTERN I L ake NYANZA Victoria A CENTRAL NAIROBI TANZ ANIA The second largest administrative structures after the central government are the provinces. Each province is then divided into a number of districts. The number depends on the size of the province. Smaller provinces have fewer districts. Kenya is divided into 8 provinces, namely Nairobi, Central, Rift Valley, Coast, Western, Nyanza, Eastern and North Eastern Provinces. These units are now consolidated into 47 counties since a new Constitution was passed in August 2010. EASTERN Figure 18 Administrative map of Kenya COAST INTERNATIONAL BOUNDARY INDI AN OC EAN PROVINCIAL BOUNDARY NATIONAL CAPITAL 0 50 100 The second largest administrative structures after the central government are the provinces. Each province is then divided into a number of districts. The number depends on the size of the province. Smaller provinces have fewer districts. Kenya is divided into 8 provinces, namely Nairobi, Central, Rift Valley, Coast, Western, Nyanza, Eastern and North Eastern Provinces. These units are now consolidated into 47 counties since a new Constitution was passed in August 2010. FOOD Foods eaten in Kenya are as diverse as the many cultures represented in the country. However, staple foods found in most Kenyan households include Ugali (cornmeal cooked in water to a stiff consistency), rice, chapati (fried paste of wheat flour), beef, chicken, mutton, fish and vegetables like kales and cabbage. Figure 19 White Ugali Ugali has a rather flat taste, because it is cooked without sugar or salt. However, it is eaten with other foods such as meat stews and vegetables. Figure 20 Brown Ugali AIRS Songbook, English, January 2012 P a g e | 69 There are certain foods associated with particular ethnic groups. The Kikuyu mainly eat githeri, a mixture of maize and beans. They sometimes mix this basic food with potatoes, carrots and sometimes, with a little beef, and mash it. This mashed mixture is called mukimo. Figure 21 Githeri Although predominantly a Kikuyu dish, many Kenyan communities also eat a mixture of maize and beans. Figure 22 Mukimo The Luo eat a lot of fish due to their proximity to Lake Victoria. This is eaten with Ugali. Figure 23 Fish called Ngege (Tilapia) served with vegetables The Swahili are famous for their excellent culinary skills. They eat chapati and pilau. Pilau is a dish of rice cooked with beef and seasoned with a special mixture of various spices. Their love of spices can be attributed to the influence of the Portuguese an Asians who lived in this area prior to Independence. Figure 24 Chapati Porridge (Uji in Kiswahili) Most Kenyan Communities eat porridge. Porridge is generally known as uji in the Kiswahili language. Depending on what staples are available where Kenyans live, porridge can be made from corn meal (maize meal), or millet. Figure 25 Porridge made from millet served a calabash W ILDLIFE Kenya has an abundance of wildlife. Some of the wild animals found in Kenya include lions, giraffes, gazelles and hippopotamus. There are many game parks in Kenya. The most famous is the Maasai Mara game Reserve in the Rift valley Province. Others are the Nairobi National Park and the Amboseli safari lodges and camps. Figure 26 Impala AIRS Songbook, English, January 2012 Figure 27 Rhinocerous P a g e | 70 Many tourists from all over the world travel to Kenya each year to see these animals. Such trips are known as ‗safaris‘. The term ‗safari‘ has now been internationalized and generally refers to a visit to game parks or reserves. It originally means ‗journey‘ in Kiswahili. ‗Kusafiri‘ in Kiswahili means ‗to travel. These animals are numerous in Kenyan game parks. They are also found around Nyanza province. This rhino lives in Nairobi National Park. The Lion is called ‗simba‘ in Kiswahili. It is the ‗King of the jungle‘ and is one of the Big Five wild animals found in Kenya. Figure 28 Lion and Lioness Figure 31 Zebra Zebras are quite commonly found in Kenya. This one lives in Nairobi National Park. Figure 29 Monkey Monkeys come in many species. This black and white one lives in the Nairobi National Park. Figure 30 Buffalo Buffalo are also numerous in Kenya. They are a tourist attraction at Nairobi National Park. But they are also reared for their meat. In recent years, Wildebeeste have been a great tourist attraction. Every year, at a certain time, they migrate from the Maasai mara National park. Tourists come to the country to watch them as they wade through rivers and migrate. Figure 31 Wildebeeste in the Maasai Mara Elephants are part of the Big Five in Kenya‘s wildlife. The government is working hard to protect them from poachers who kill them for their tusks, which are ivory. Figure 32 Elephants K ENYAN A RT AND C RAFT Different Kenyan communities have unique artistic skills. Such arts as painting, ceramics, carving and weaving are common among different Kenyan communities. This painting was done by a student at Kenyatta University. Maasai people are an important part of Kenya‘s identity. Their pictures are very popular. AIRS Songbook, English, January 2012 P a g e | 71 Pottery is an important aspect of Kenyan culture. Most Kenyan communities traditionally used clay pots to cook and to carry and store water. This picture was also done by a student at Kenyatta University. Figure 33 Painting of Maasai Boy Figure 34 Painting of Pots The picture portrays life in a quiet village. Figure 37 Village Life Figure 35 Rooster and Hen Although Kenyans appreciate art, there is still much more that needs to be done to promote artists. The weaving of baskets is also popular in Kenya. This type of basket is found among the Luo people. It is called ‗adita‘. A bride was presented with this basket on her wedding day. It is both decorative and a means of storing grains like maize and millet. Figure 39 Basketry These were found at the Maasai market, and can be used to store small items. The top part is woven like a basket while the bottom is a plant that is used for drinking water and porridge. Figure 40 Calabashes Decorated Gourds are used in many Kenyan communities for porridge or milk. Figure 41 Decorated Gourd Figure 42 Intricate Beadwork: Baskets AIRS Songbook, English, January 2012 Figure 43 Mats and Coasters P a g e | 72 Soap stone is found in Nyanza Province among the Kisii people. They make many beautiful artworks out of it. Figure 44 Soap stone carvings Figure 45 Soap stone Art L EISURE A CTIVITIES FOR K ENYANS AND OTHER V ISITORS Although for many years camping was associated with tourists, Kenyans are beginning to appreciate the beauty of their own country. Camping in the wild, mountain climbing and safari drives are now as popular with Kenyans as they are with tourists from other countries. Figure 36 Camping in the Maasai Mara Taking game drives is the best way of seeing animals such as lions, which are too dangerous to view at close range. Figure 46 A Game Drive The Maasai market is also a good place to visit just to see the innovative ways in which people come up with works of art. Figure 47 A Seller at the Maasai Market Figure 48 Jewellery at the Maasai Market Sailing is also an interesting activity for those who do not fear waves. Figure 49 Sailing in a Boat on Lake Victoria Figure 50 Bird watching AIRS Songbook, English, January 2012 P a g e | 73 MUSIC The music of Kenya is as varied as her people. Each ethnic group has its unique rhythms and tones. While there are similarities between the music of closely-related ethnic groups, even in such music there are subtle differences that betray the uniqueness of each culture. Similarities in Indigenous Kenyan Music All 42 Kenyan cultures have music to celebrate the rites of passage that occur in the life cycle of a human being. These rites include birth, childhood, youth and initiation into adulthood, marriage, old age and death. Birth The birth of a baby brings joy everywhere. Each Kenyan community had certain rites accompanying the birth of a child. The songs and dances were specific to the sex of the child, that is, whether the child was male or female. Childhood Songs There were lullabies and cradle songs for infants. Lullabies were supposed to soothe the children and send them to sleep. Cradle songs were sung to encourage children as they develop (like when they begin crawling, when they make their first steps etc). Later, there were singing games, which helped children develop socially, physically cognitively and emotionally. Initiation Songs These songs were sung when youth underwent initiation into adulthood. In most Kenyan communities, this important transition was marked by circumcision of male youth at about the age of 13 or 14 years. After initiation, songs centered on preparing the young adults for marriage. Marriage songs These were sung at marriage ceremonies. Most Kenyan communities celebrate weddings differently. However, exchange of gifts, singing and dancing are common to most of the communities. Some communities hold an elaborate engagement ceremony before the wedding. At this ceremony, the bride and groom‘s families exchange gifts. Figure 51 Maasai Warriors Singing and Jumping Figure 52 Maasai girls singing at a wedding Work songs These were sung during work activities to make the work lighter. Examples include songs sung during harvest season, when building a house or when doing household chores. Leisure Songs These were sung during times of rest or leisure activities. Examples are beer party songs. Funeral songs These were sung to mourn the deceased person. When a respected member of society died, there were special songs and some rites performed in their honor. Figure 53 Singing can accompany any work AIRS Songbook, English, January 2012 P a g e | 74 SOME MUSICAL INSTRUMENTS OF KENYA The Kayamba is a self-sounding musical instrument (an idiophone) originating from the Coastal area of Kenya. It is made from 2 sets of reeds sewn closely together with seeds in between the two parts. When shaken, the seeds vibrate against the reeds. Figure 54 Kayamba Figure 55 Kiringongo (Marimba) The kiringongo or marimba is a xylophone from the Coastal area of Kenya. It is made from bars of wood mounted on a wooden frame. It is played by hitting the bars, which are tuned to different tones. It is hit with 2 padded sticks. These leg rattles are also found around the Coastal area of Kenya. They are tied to one leg, and as the leg moves in dance, they rattle. They are found among the Pokomo ethnic group. Figure 56 Msewe (Leg Rattles) Dufu is a drum found among Islamic communities. It is made from animal membrane. One side is hollow, and it has metallic rattles on the side, which give it a distinct sound. Figure 57 Dufu (Islamic Drum) The Obokano is an 8-stringed lyre found among the Kisii Community who live in Nyanza Province. Figure 58 Obokano (8-stringed Lyre) The Robaro rattles are found among the Meru ethnic group who live in eastern Kenya. Figure 59 Robaro (rattles) AIRS Songbook, English, January 2012 P a g e | 75 These drums are played together as an ensemble. They originate from the Coastal area of Kenya. The Chapuo is also found among the coastal communities of Kenya. Figure 60 One Mshondo and two mabumbumbu drums Figure 61 Chapuo Drum The picture shows two chivoti, which are transverse flutes found among the Coastal communities in Kenya This harp is found among a small ethnic group residing in Western Kenya, known as the Teso. Figure 64 Two Chivoti (Transverse Flutes) Figure 62 Adeudeu (Harp) Figure 63 Orutu (Fiddle) The orutu fiddle is an important instrument among the Luo people of Nyanza Province. It is a versatile instrument and is heard in both traditional songs and Luo popular music, particularly a style of music called Benga. This is a drum ensemble of the Luhya of western Kenya. The complete set contains 3 drums: the father drum, which is the large one pictured here, the mother drum, not shown in this picture, and the child, which is the small one shown here. Figure 65 Isukuti Drums AIRS Songbook, English, January 2012 P a g e | 76 SONGS Kenyan Song 1: Jambo Bwana (Hello Sir)* Type: Popular CHORUS CALL & RESPONSE Jambo, Jambo Bwana, Habari gain, Mzuri sana. Wageni, mwakaribishwa, Kenya yetu Hakuna Matata. Kenya nchi nzuri, Hakuna Matata. Nchi ya maajabu Hakuna Matata. Nchi yenye amani, Hakuna Matata. Watu wote, Hakuna Matata, Wakaribishwa, Hakuna Matata. AIRS Songbook, English, January 2012 Hello, Hello Sir, How are you, Very fine. Foreigners, you're welcome, In our Kenya there is no problem. Kenya is a beautiful country, There is no problem. A wonderful country There is no problem. A peaceful country, There is no problem. Everybody, There is no problem, Are welcome, There is no problem. P a g e | 77 This song, composed by Kenyan musician Teddy Kalanda Harrison, was first recorded in Feb. 1980. Ever since, it has spawned many imitations & adaptations throughout the world, including that of Boney M. The song is popular not only in Kenya, but the world over. As seen in the words, it reflects the friendliness and hospitality of the Kenyan people. Even though, like any country, Kenya experiences various challenges, the song focuses on the beauty of the country as seen in its abundant wildlife, beautiful lakes and mountains, and the diverse topographical features. ‗Hakuna matata‘ (there are no problems) reflects what we do when we receive visitors in our homes: we usually show them our best and give them the best services we can afford to provide. Figure 66 A Warm Handshake Links to Videos: http://youtu.be/fK0wPpLryc4. http://youtu.be/kBwp9k0i-3I Kenyan Song 2: Chant : Nyambaga Kondo Gakwa (I am Weaving My Basket) Type: Children‘s Chant Text Nyambaga kondo gakwa Wonengiamba ii Wonengia bura ii. Translation Action I am weaving my basket The children stand in a line. The Can you see that I am leader starts the chant and the weaving my basket? whole group coils around the I am undoing my basket. leader, imitating the firm weave Can you see, I am undoing my basket? of a basket. The leader then sings out, and the group moves in the opposite direction, till they form a straight line once more. AIRS Songbook, English, January 2012 P a g e | 78 This chant is from the Kikuyu culture. The Kikuyu are the largest ethnic group in Kenya. Their women carry most of their goods in baskets. They have baskets of many different sizes, made from sisal. The women weave these baskets as they walk to the farm or after finishing farm work and household duties. This song is a game that depicts ‗weaving a basket.‘ The children form a tight coil to illustrate a woven basket. They then ‗unwind‘ by moving in the opposite direction to illustrate ‗undoing‘ the basket. The Kikuyu call a basket ‗kiondo‘ (singular) or ‗ciondo‘ (plural). The women carry the baskets on their backs. The baskets have a single leather or sisal strap, which the women sling on their foreheads. They use the basket to carry food and goods from the market. Figure 67 A Kikuyu Basket Kenyan Song 3: Song: Mama Mbe Tsimbindi (Mother, Give Me Seeds to Plant) Type: Children’s Activity Song Text Mama, mbe tsimbindi, nzie khumitsa Translation Mother, give me seeds to go and plant Nzie, nzie, nzie, Nzie khumitsa. Give, give, give Give me so I can go and plant them. Action Children sing as hold out their right hand and swing it rhythmically (begging for seeds). They do actions like digging the soil with a hoe with one hand, and dropping the seeds into the ground with the other hand. This song is from the Luhya community. In the song, a child is asking his mother to give him seeds to go and sow (plant). The song depicts the Luhya livelihood where agriculture is the main form of existence. Children are expected to help their parents in the farm work and also around the home. Figure 68 Seeds of Green Grams AIRS Songbook, English, January 2012 P a g e | 79 Kenyan Song 4: Hombe Type: Lullaby Text Hombe, Hombe Nyathi mayuak Ondiek chame Nyathi ma ling‘ Ondiek weye Hombe. Translation Hombe (nonsensical word to lull the child) The crying baby will be eaten by a leopard; The quiet baby will not be eaten by a leopard Hombe. Action Lullaby - The child can be rocked or swayed to the rhythm of the song. The song is a lullaby, which is sung to a baby to send them to sleep. Children usually cry when they do not want to sleep. In the song, the crying baby is threatened, that he will be eaten by a leopard. He is also promised that he will not be eaten by the leopard if he keeps quiet. The song is sung among the Luo people, who, as seen above, live mainly in Nyanza province. The climate in this place is hot most of the year. It talks about the leopard because many wild animals are found in this part of the country. Fig. 69: Singing a lullaby AIRS Songbook, English, January 2012 P a g e | 80 Kenyan Song 5: Tokerelo Meriya Type: Children’s activity Song Text Tokerelo meriya Ya ayeya! Tokerelo meriya Ya ayeya! Translation The leopard! If you meet it, run or it will finish you! Action The song can be sung in various ways, but it should depict one running away from a leopard This song is from the Turkana community who live in Northwestern Kenya. They live in a dry area of the country, where survival is the primary concern. They are pastoralists, always moving around with their cattle in search of pasture. Many wild animals are found in this area. The following song is sung when a leopard has been spotted. It warns people to run away because a leopard is dangerous and should be feared. Fig. 70: Leopard AIRS Songbook, English, January 2012 P a g e | 81 Kenyan Song 6: Asai Iani: Nandi Celebration Song Type: Celebration Song Text I‘ani ng‘otumi? I‘ani I‘ani kolene I‘ani Asai I‘ani Translation Who agrees with the ceremony? We Agree How do you agree? We say Yes! Action This song is sung during various celebrations. The only actions are dancing gracefully towards the person being welcomed. This song is sung during celebrations like engagement parties (an important part of Nandi marriage proceedings. Engagement celebrations are carried out before the church wedding ceremony. On this occasion, both families exchange gifts, and the bride-to-be‘s father officially gives her hand in marriage. It is a joyful occasion, with much singing, feasting and drinking of mursik, curdled milk that is prepared in a gourd and flavored with a special stick called sosiot that has been burned in a fire. It gives the milk a ‗smoky‘ flavor. The singing is done in the midst of the various activities that go on during the occasion. Figure 71 Exchanging Gifts at a Nandi Engagement Ceremony AIRS Songbook, English, January 2012 P a g e | 82 REFERENCES Introduction and Nairobi 1. http://www.trueknowlegde.com/q/what_is_the_population_of_kenya_2011 2. http://www.kids.yahoo.com/reference/world-factbook/ke Ethnic Communities 3. http://www.kenyainformationguide.com Leisure Activities 4. http://www.kenyatravelideas/kemya-people.html Music & Songs for AIRS Project 5. Andang‘o E. A. (2009). The Use of Song and Movement to Create a Multicultural Curriculum for Early Childhood Music Education in Kenya. Unpublished PhD Thesis, Kenyatta University. 6. Senoga-Zake, G. (1986) Folk Music in Kenya. Nairobi: Uzima Press. Photographs http://www.letsgokenya.com http://allsaintsnairobi.org http://claudioustoursand safaris http://www.kenyabookcentre.com http://www.joshua.com AIRS Songbook, English, January 2012 P a g e | 83 BIOGRAPHIES EDITORS Lily Chen-Hafteck is one of the co-investigators and team-leaders of the AIRS project. She holds the doctorate in music education from the University of Reading, U.K. She is currently Associate Professor at Kean University, USA and has held teaching and research positions at the University of Pretoria, South Africa, University of Surrey Roehampton, U.K. and Hong Kong Baptist University, Hong Kong. She has published numerous journal articles and book chapters on the topics of music and language in early childhood, children‘s singing and multicultural music education. She has served on the editorial board of the International Journal of Music Education, Asia-Pacific Journal for Arts Education and Music Education Research International, and has held positions of the International Society for Music Education as member of its Board of Directors, chair of its Young Professionals Focus Group and Early Childhood Commission. She frequently presents papers and workshops internationally. In 2008, she was the keynote speaker at the International Conference on Children‘s Arts Education, held in Nanjing, China. She is the founder and director of the Educating the Creative Mind project that advocates arts-based education for children. Nancy Gleason is earning her post-baccalaureate degree at Kean University, Union, NJ, USA, in Music Education. Nancy is a Vocal Major, studying with Katherine Harris. She conducted her Junior Field Music Education experience at Linden Elementary School in Linden, NJ. Nancy was Administrative Assistant for the Educating the Creative Mind project at Kean University in 2010. Nancy earned her BA magna cum laude in Sociology and Speech Communications at Boston College in Chestnut Hill, MA, USA. She has earned ITIL Service Management and Capability & Maturity Model Certifications, and received a scholarship from her employer to attend post-graduate business classes at MIT from 2000-2002. Nancy initiated a Mentoring Program for the NY Women‘s Bond Club, and also received the Merrill Lynch Leadership in Diversity Award in 2006 for her leadership of their global Women‘s Professional Network. Robert Anderson is pursuing a B.A. in Music Education at Kean University, Union, NJ, USA. He is a recipient of the Nadia and Fritz Lambert Memorial Scholarship, and the Kean University Merritt Honors Scholarship. Robert is a Violinist studying with Brennan Sweet, Associate Concertmaster of the New Jersey Symphony Orchestra. In his time at Kean, Robert has had field experience teaching in Rahway, NJ and West Orange, NJ, in addition to giving volunteer assistance to music departments in his hometown of Teaneck, NJ, Newark, NJ, Oakland, NJ, and the Montclair State University Youth Orchestra. In addition to working on this project, he has served as an Administrative Assistant in the Educating the Creative Mind Project and is also on the Programming Committee for Arts Center Chamber Music Concerts. AIRS Songbook, English, January 2012 P a g e | 84 CONTRIBUTORS Dr. Elizabeth Achieng’ Andang’o is a Lecturer of Music Education at Kenyatta University in Nairobi. She has been a faculty member at the institution since 1998, when she was invited on staff development. She holds a Bachelor of Education in Music, a Master of Arts in Music Education and a PhD Early Childhood Music Education from Kenyatta University. She undertook part of her doctoral work at the Institute of Education, University of London, under Prof. Graham F. Welch. Her teaching experience includes 3 years as a specialist music teacher at Secondary School and 13 years of University teaching, at the department of Music & Dance at Kenyatta. She also carries out research in Early Childhood Music Education with a focus on singing, cultural issues and multicultural music education. Elizabeth has presented papers at a number of international conferences including ECME commission of ISME; RIME and Creativity in the Arts. At National level, among other presentations, she has contributed a chapter in a book on eminent Kenyan musicians. She has published articles in Arts Education Policy Review, Early Child Development & Care, and the East African Journal of Music Education. Elizabeth is also a Commissioner with ECME Commission of ISME since 2010. Jennifer Beynon-Martinec is a master student at the University of Western Ontario studying music education, and the conductor of the Czech Boys Choir - Young Men‘s Ensemble. She is a voice and music education graduate from the University of British Columbia and the University of Western Ontario. A former member of the Amabile Youth Singers, the World Youth Choir, UBC Singers, and the Canadian Chamber Choir, Jennifer was a choral conductor and vocal teacher at St. Michael‘s Choir School in Toronto, Ontario, conductor of the Amabile Boys Training Choir, and the assistant conductor to Linda Beaupre and the Bach Children's Choir. In 2001, she was the University of Western Ontario recipient of the Don Wright Scholarship for Vocal Music and in 2003, she was the University of Toronto recipient of the Lloyd Bradshaw Scholarship in Choral Conducting. Since 2005, Jennifer has been a private voice teacher and conductor with Boni Pueri, a lecturer and voice teacher at Charles University, and currently teaches at the English International School in Prague. Alda Jesus De Oliveira is a music educator, pianist and composer. As a FulbrightLASPAU scholar she did a PhD in Music Education at The University of Texas at Austin (1986) and a Master of Arts at Tufts University at Medford, Boston (1979). Professionally, she has worked as a pianist for the Dance School at the Federal University of Bahia, Brazil, as a Professor at the Music School of the same University, becoming Director of the Music School (1992-1996). She was honored with the title Housewright Eminent Scholar given by Florida State University in Tallahassee (2001). Nowadays Alda Oliveira is a voluntary supervisor professor and researcher at the PostGraduate Program in Music at the same school. Dr. Oliveira has won composition awards, has recordings as a solo pianist and composer, and was won several times research grants by the CNP. She has founded the Brazilian Association of Music Education (ABEM) and was its first president for four years. . Her articles related to music education and to the Brazilian educational scene have a strong impact for the academic community. AIRS Songbook, English, January 2012 P a g e | 85 Kelly Gillis is a student research assistant at the University of Prince Edward Island, Canada. Kelly is entering her Junior Year and is studying Psychology at UPEI. Having come from a musical family, she plays the clarinet and saxophone and enjoys listening to different kinds of music. Kelly's research interest is in the area of cultural identity, specifically around how immigrants develop their sense of ethnic/cultural identity in a new country. Currently, she is working on the AIRS 3.1 Inter-cultural Understanding sub-theme as she is interested in traveling and meeting people from many cultural backgrounds. She was raised on Prince Edward Island and lives there with her family.. Arla Good graduated from the University of Western Ontario with an honors BA in Psychology. She combines this knowledge with her enthusiasm for music as a means to pursue a PhD in Music Psychology. She joined a music cognition lab at Ryerson University and has been researching the benefits of song to support language development and cultural understanding. Her past experiences teaching and singing with children in developing countries have fueled her interest in exploring crosscultural music. Arla looks forward to diving into a future of AIRS research. Beatriz Ilari is a Brazilian music educator and researcher, who earned degrees from McGill University (PhD), Montclair State University (M.A.) and the University of São Paulo (Arts Licentitate). She has recently joined the music education faculty of the University of Southern California, in Los Angeles, following appointments at the Federal University of Paraná, in Curitiba, Brazil (Associate Professor of Music Education, 2003-2010) and the University of Texas in Austin (Visiting Associate Professor of Latin American Studies, 2010). Her research concerns psychological, social and cultural issues in music teaching and learning, and appears in many journals including Arts Education Policy Review, Journal of Research in Music Education, Update: Applications of Research in Music Education, and Early Child Development and Care, to name a few. At present, she is Co-Editor of the International Journal of Music Education, the research publication of the International Society for Music Education (ISME). Bing-Yi Pan was born in Yantai, Shandong, China. He received his Ph.D. in condensed matter physics in 2010 from the Institute of Physics, Chinese Academy of Sciences, Beijing and B.Sc. in physics in 2004 from Shandong University, Jinan. Simultaneously, he received his B.A. in music education in 2008 from Central Conservatory of Music, Beijing. Currently, holding AIRS postdoctoral fellowship, Dr. Pan is dedicating himself to singing sciences at the Department of Psychology, University of Prince Edward Island, supervised by Dr. Annabel J. Cohen. AIRS Songbook, English, January 2012 P a g e | 86 LIST OF SONGS Brazil: 1. 2. 3. 4. 5. 6. Escravos de Jó* Nesta rua Pézinho Roda Pião Sou eu maculelê Casa de Farinha 13 14 15 16 17 19 Canada: 1. Land of the Silver Birch* 2. Ah! Si mon moine voulait danser 3. Ho, Ho Watanay 4. I‘se the B‘y that Builds the Boat 5. The Huron Carol 6. The Red River Valley 29 31 32 34 35 36 China: 1. 2. 3. 4. 5. 6. 53 54 55 57 58 60 Shu Ha Ma (Toad Song)* Hong Cai Mei Mei (Rainbow Sister) Gong Xi Gong Xi (Happy New Year) Diu Shou Juan (Drop the Handkerchief) Mo Li Hua (Jasmine flower) Qing Chun Wu Qu (Youth Dance Song) Kenya: 1. Jambo Bwana* 2. Nyambaga Kondo Gakwa 3. Mama Mbe Tsimbindi 4. Hombe 5. Tokerelo Meriya 6. Asai Iani 77 78 79 80 81 82 * As part of the research design, these songs should be particularly well-learned. AIRS Songbook, English, January 2012 P a g e | 87