drama for schools (the slave trade) · drama for schools (the slave trade) this resource introduces...

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Drama for Schools (The Slave Trade)

Abolition of slavery, drama workshops, Glasgow 2007 © Wendy McMurdo

The National Trust for Scotland Drama for Schools (the Slave Trade)


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Drama for Schools (The Slave Trade) This resource introduces teachers (and club leaders) to the use of drama, based around the transatlantic slave trade. It shows how drama can be used effectively with young people to learn about slavery, and to explore sensitive issues arising from our history.

The resource pack is based on a project that took place in Glasgow and South Lanarkshire, involving pupils from two primary schools and a youth group (see Case Study). It demonstrates how drama contributes to the principles of the Curriculum for Excellence.

Specific support is provided for creating workshops and performances, along with background information on the slave trade.

The Workshops described are suitable for young people aged 10 years upwards.



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Contents

1.0 Using Drama 1.1 Introduction 1.2 Why Use Drama? 2.3 Preparation & Research 1.4 Simple Techniques 1.5 Building a Story 1.6 Using Different Spaces 1.7 Props & Costumes 1.8 Performance 1.9 Using a Drama Expert 1.10 Pupils’ Comments 2.0 Case Study 3.1 Introduction 2.2 Warm-ups 2.3 Workshop 1 – Africa 2.4 Workshop 2 – The Ship 2.5 Workshop 3 – The Plantation 2.6 Workshop 4 – Scotland 2.7 Conclusion 2.8 Scripts 2.8.1 Script 1 – Dramatic Performance 2.8.2 Script 2 – School Assembly 2.8.3 Script 3 – Narration and Freeze Frame 3.0 Dilemmas 4.0 Resources 4.1 Books 4.2 Websites 5.0 Contact



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1.0 Using Drama




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1.1 Using Drama IntroThis section shows how drama can be used effectively to learn about the slave trade, allowing the pupils to explore their own thoughts and feelings. 1.2 Why Use Drama?

Teamwork © Sandra Cushnie

The use of drama and drama techniques enhances learning and provides an inspiring experience within a safe framework. Drama allows young people the chance to become: • successful learners • confident individuals • responsible citizen • effective contributors by helping them to: • make informed choices and decisions • work as an individual or part of a team • communicate effectively • understand different beliefs and cultures • learn about people and place • develop self esteem and respect for others • resolve conflict • develop critical thinking • solve problems



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Drama enhances personal and social development, aiding understanding of self and others.

By using role play and other methods, drama helps students to empathise with and understand the lives of other people. It gives them the chance to put themselves into the place of other people and see things from a different point of view.

Drama stimulates imagination and concentration. It encourages listening and observation skills. It develops language.

Drama allows young people the chance to make sense of the world around them and try out new ideas, thoughts and solutions. This can increase their confidence.

Performance is an important part of drama. Performance can take many forms. It may be a full stage production, the sharing of a scene with class-mates, or a short monologue. Within these areas, pupils learn to work together and as individuals.

They can also learn different areas of expertise – for instance, as performers, directors or stage managers. 1.3 Preparation & Research

© Alistair Devine

Before creating a dramatic piece, the pupils need to know about the subject (in this instance, the slave trade). They can learn more as the workshops progress – but they have to start with a knowledge base so that the drama exercises are meaningful (how can you become a slave owner, for instance, if you don’t know what one is?) To build scenes, the pupils need to understand about the people, places and stories involved. This is true of any scene but is particularly important when dealing with historical events and issues.



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Investigating and collating the information for a historical scenario (set of scenes) can, of course, become part of the project. 1.4 Simple Techniques

Freeze! © Alistair Devine Below are some simple techniques for drama work. Using some or all of these will help pupils create a set of scenes. See the Case Study for more techniques. Teacher–in–Role Teacher adopts a role: a) To introduce the lesson b) To move the drama on c) To give information d) As a control method e) To facilitate the action f) To change the direction that the action is taking Hot seating The teacher or pupil becomes a character who can be questioned by others. First, you choose a character – then you spend some quiet time imagining that you are that character. You should know all about your new self. For instance: What do you wear? How old are you? Where do you live? Who is in your family? What is your favourite food?



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When a character is ‘hot-seated’, he or she can be asked any questions by the others.

The teacher can create a structure if required – perhaps a time limit or the class is told that they may only ask 10 questions - so they need choose the most useful ones. The pupils learn about the character. The person in the hot seat gets to understand and empathise with their character.

Hot seating can be used as a general exercise – or it can be more specific. It is useful for helping pupils understand how a character is thinking. For instance, with the slave trade drama, a slave owner and an enslaved person might be questioned (individually) in the hot seat. The pupils in character will become those people – and the whole class will learn about two points of view.

Conscience alley The teacher or pupil is placed between two groups who have opposing opinions. Each group in turn must try to persuade the person in the centre to join their side.

The pupils on either side must know their arguments. They might be arguing for something that they would not support in their own lives. They are taking on roles.

Role play The teacher or pupil takes on the role of a person different from themselves. They consider the character carefully and know how they think and feel. They might show their character to the others – with a short mime or monologue, or by interacting with others.

Drama is good for language work. As well as dialogue, your pupils could practise their listening and writing skills. When asking pupils to adopt a role, they might write about their characters. The teacher could provide a list of questions to help them begin.

To keep the sense of drama - the pupils could interview each other – one is a television interviewer and the other the character (then they swap over). What do they want to know?

Improvisation The pupils are divided into groups. Each group of pupils creates a scene which they develop as they work through it. The teacher can introduce the exercise with some simple instructions.

Improvisation will help the pupils put several ideas together. They can act out aspects of their characters’ lives. For the slave trade drama, for instance, the pupils might ‘try out’ the work of an enslaved person, or life in a plantation village; they might develop a scene about capture.



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Freeze frame Stopping the action is sometimes called Freeze Frame – like a DVD, when you press the Hold button, the action is suddenly frozen. The pupils should stop immediately in mid action. The teacher might want to warn them – for instance, the teacher might say: You work on your scenes. I will come round and listen. When I want to freeze the action, I will call to your group “1, 2, 3, freeze!”

Freeze Frame can be used for discussion work. The pupils work on their scenes, in groups. Each group is frozen in turn – the other pupils gather round and discuss what is happening in each other’s scenes.

Thought tracking When the pupils are improvising, the teacher freezes the action and taps a pupil on the shoulder to ask for his or her thoughts.



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1.5 Building a Story

© Alistair Devine

By using simple techniques - such as games (to begin a session), individual and group mime, pair work, group work and whole class work - a story can be developed. The Case Study shows how this can happen. Before beginning, create a workshop plan (or a storyboard): Decide what the end product is to be:

• One workshop (using drama to explore an aspect of a project)? • A series of workshops (as a learning exercise)? • A public performance (for the school or public)? • A class assembly, school radio programme, film? • Consider the best way to start each workshop. What is to be achieved? What is the best

means of getting there? • All stories have a beginning, middle and end. • Stories start with ideas. • A painting, photograph, object or music can inspire stories and actions. • Careful discussion will inform opinion and create new ideas and decisions. • Pupils might offer their own thoughts and ideas - which are different or even better than

the ones originally intended. Since the ideas have been supplied by the pupils, it is ‘where they are at’ and should be considered.

• Use the pupils’ ideas when and where possible. If this is done, they will feel ownership and gain in confidence.

• Building a story should be fun for everyone – teacher and pupils alike!



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Checklist for a performance:

• How long will it last? • How many workshops do you need to bring your pupils to performance level (often more

than you think!) • What roles are needed and who will play them? • Will you use costumes and/or props? • Have you checked/tried out the performance space? • Are you using a script - or a narrator with short scenes (and maybe freeze frames)? • Are you using music? • Is the script being created by you and the pupils?

1.6 Using Different Spaces

Getting into role © Sandra Cushnie Careful consideration should be given to suitable spaces when planning drama workshops.

They need not take place in “The Hall”. Often, a smaller space works well. If you are using a big hall, you might partition off an area for some of the drama work.

A large space can be intimidating and make young people feel unsure of themselves – they tend to stick to the walls for security or move in a large group, keeping friends in sight for support!

When performing or presenting scenes, a large space may be needed, of course - to accommodate both the performers and the audience. In that case, the pupils will need to get used to the space before the performance.

The classroom is suitable for pair work, and for talking over thoughts and ideas. Since this is the



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pupils’ own space, they will feel secure. When working on small or intimate scenes, an area created by moving desks and chairs to one side, is perfectly adequate.

Outside visits can be beneficial, increasing understanding and adding to the whole experience. When working on a historical subject such as the slave trade, for instance, a visit to a historic house or museum, will provide more background information which, in turn, can inspire the pupils.

1.7 Props & Costumes

Trying out moves © Alistair Devine

Props and costumes can be both a help and a hazard! Reasons for using them:

• They add another dimension to a drama workshop or performance • They are fun for the young performers. • They make it easier for the performer and audience to understand time, place and

character. • You can involve others in collecting or making them • Making props or costumes can be very creative

Reasons for not using them:

• Buying or hiring items is expensive; if you borrow items, you must ensure they are kept safe. You may need to clean borrowed costumes before returning them.

• If you want elaborate costumes, you need to plan a long way ahead to ensure that everything is right and the wearer is comfortable.

• Remember that a costume can catch on scenery or props resulting in problems for the wearer.

• Props become a nuisance if constantly fiddled with or dropped. • The pupils might grow so reliant on them that, if something is missing, they cannot carry

on!



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Checklist – when using them:

• Allow time for the performers to get used to them. If added at the last minute, they may prove to be a costly distraction.

• The costumes need to fit the performers and look right for the performance • Props must be a manageable size and weight.

Using simple props and costumes:

• You may keep things very simple, of course. For example, your pupils could wear tee shirts and jeans. For the slave trade project, ragged shirts and trousers were used – or torn white tee shirts and smart black ones.

• Your pupils might wear their own clothes – and, with the addition of a hat, convey status and role or, with a walking stick, imply age, etc.

• Asking pupils to select a simple prop or piece of costume, in workshops, can be fun - and help the pupils adopt different roles. Hats are good for this. For instance, you could suggest that: whoever wears the pretty bonnet or top hat must become very posh. (The pupils’ body language and the way they speak to another person should reflect their incredible poshness!)

But you don’t have to use any props or costumes at all…



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1.8 Performance


You may feel that the drama workshops are all that is required: all the pupils have been involved and it has been a good learning experience for them. But you may decide to have a performance - in which case, some pupils could have non-acting roles and support the actors. These can be kept very simple. Of course, some schools have theatres or theatre spaces with lighting and sound – but all you really need is a space where everyone can see and hear the pupils.

Pupils might take on any of the roles below:

Director Writer Performer/Actor Stage Manager Deputy Stage Manager Wardrobe Manager Props Manager Lighting Technician Sound Technician Set Designer

You could also have: Producer Technical Director Musical Director Make-up Artist Marketing Officer Front of house staff

Director – runs the rehearsals and ensures that the actors know what they are doing - suggests how a scene should be played but can discuss this with the actors – discusses the lighting and sound effects (if there are any) - should understand the strengths and weaknesses of the team and work to their strengths - should have an overview of the whole performance. (The Director might be the teacher.)



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Writer (if using a script) – produces the script – or writes down people’s ideas and helps everyone to create the script – there could be a Team of Scriptwriters.

Performer/Actor – learns the script (this can be action with or without words) - works with the director, other actors, technicians to produce a performance. There can also be a Narrator – who tells or ‘reads’ the story while the actors enact certain scenes.

Stage Manager – helps the Director by making sure things run smoothly - keeps the Book (the prompt book) and notes down all the things that have been agreed by the Director, Actors and Technicians, alongside the Script - can then prompt people if they forget or disagree with earlier decisions. The SM makes sure that there is good communication between the technicians and actors - that everyone knows what they should be doing during a performance, backstage and onstage. The SM ensures that props and costumes are in place for the performance and that any sets are ready – but can get help with this. The SM is supported by the Deputy and Assistant SMs.

Deputy Stage Manager and/or Assistant Stage Manager - might have one or both. They are there to support the Stage Manager. If there are no Wardrobe and Props Managers, they can source the costumes and props. They can help the actors in between scenes and ensure that any set changes are done efficiently. The ASM can run errands and take messages. This leaves the Stage Manager free to concentrate on the running of the performance. The Deputy SM will need to stand in for the Stage Manager in a case of illness, so needs to understand the Book.

Wardrobe Manager - looks after the costumes - makes sure that they are ready for the actors - that they are cleaned, repaired and stored properly - might need to source the costumes and accessories - might be good at sewing. There can be Wardrobe Assistants.

Props Manager – looks after the props - makes sure they are ready for the Stage Manager (and actors) and that they are stored safely when not in use - might source the props. If there are lots of props, there can be an Assistant. A prop is any smallish item being used in a performance – something being used by a performer. A prop might be a walking cane or a book, for instance.

Lighting Technician – makes sure that the lighting is all right for the performance. There are some very complex lighting systems – but it could be enough to ensure that the right lights go on and off in the Hall, at the correct times. Could create a lighting plan.

Sound Technician – makes sure that any sounds can be heard, and are heard at the right time – might be responsible for microphones for the main actors or a narrator – might use music and other sounds. There can be Assistants e.g. to work a CD player while the ST keeps an eye on the whole performance.



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Set Designer - Sets are things that set the scene for the actors. Performances used to have full sets with backdrops (of rooms or vistas), doors, windows and lots of furniture – but these days, the Set Designer often creates an impression – and might work with the sound and light technicians to do this. A simple set using, for instance, a table and chair as a focus, can be effective. Draped materials might create different shaped spaces.

1.9 Using a Drama Expert

Enslaved men, Scottish plantation. Glasgow City Archives and Special Collections This pack has been created to help teachers and group leaders manage drama workshops with young people. There are times, however, when you might want to bring in a drama specialist.

Working with a drama expert can have the following advantages. They can: • offer a new perspective on a topic • add some different ideas and techniques • sort out problems and move the work along • inspire confidence in young people • provide the teacher with the chance to watch their own pupils (a chance to see how the

pupils work, who they work with and gauge their level of understanding, confidence and co-operation)

Also: • Bringing a new person into the project can add a feeling of challenge and excitement –

the pupils don’t know what to expect and therefore are more open to suggestions. • The specialist can encourage new skills from pupils



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If you decide to appoint a drama expert for workshops, be aware of the following points: • Your pupils will need a fairly good knowledge of the subject matter before the workshops

begin – otherwise it will be difficult for them to engage in new ideas. This can be frustrating for them and for the drama expert

• Discuss the workshops. Allow time to prepare for them. Agree what each will provide. You should know what your pupils need to bring to the workshops – e.g. what areas of knowledge, whether they need simple props – and the drama specialist should understand your aims and outcomes

1.10 Pupils’ Comments

David Livingstone Memorial Primary School pupils Pupils' comments From David Livingstone Memorial Primary School. How did you feel about the enslaved people?

• I felt sad because they got separated from their family • I felt angry because of the way they were treated • I felt sad because they got whipped for no reason • I felt devastated because some slaves were thrown overboard

How would you feel as a slave?

• Distraught • Unsafe • Lonely • Uncomfortable • Terrified • Rejected by the rest of the world



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Name something you remember: • The triangular trade route • That sailors on the slave ships didn't see the slaves as people • That the slaves got serious diseases and died • How badly treated the slaves were • How cruelly they were captured • How many people they could squeeze on a ship • That the slaves were sold at an auction • The slave trade was abolished in 1807 • How horrifying it was for them

Did you enjoy creating the performance?

• It was outstanding • We learned a lot of things at Greenbank House • It was an amazing experience • It was fun creating the show • It was great to put it on for our parents at the David Livingstone Centre • It was brilliant and I'd love to do it again • It was a great experience acting in the performance on slavery



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2.0 Case Study

Sugar plantation - enslaved children at work while the planters' children play. (University of North Carolina at Chapel Hill)



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2.1 Introduction This case study illustrates the drama work undertaken by pupils at David Livingstone Memorial Primary School, Blantyre, and Shawlands Primary School, Glasgow, and by young people from Pollokshaws Boys Brigade, Glasgow. It includes scripts.

Before any drama work could begin, the pupils needed to learn about the slave trade. They discussed the topic of slavery (and the issues that surrounded it) with their class teacher or group leader.

They then learnt various drama techniques which helped them to explore their ideas about the slave trade. The pupils had four workshops. Each workshop began with a warm-up followed by a discussion to set the scene.

For information about the slave trade, visit our website Scotland and the Slave Trade (http://www.nts.org.uk/Learn/slavetrade_trade.php) and Resources(http://www.nts.org.uk/Learn/slavetrade_resources.php). 2.2 Warm-ups

© Sandra Cushnie



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Warm-ups

1. The Hiding Game (Hide! Get down, someone’s near!) - The pupils are told that they are trying to hide from someone - however, the hiding places are totally imaginary and nothing real in the room can be used. The pupils walk round the room and when the teacher says “get down, there’s someone near” they must hide. Every time the teacher says this phrase, the pupils must mime a different hiding place. 2. The Following Game - The pupils walk in any direction around the room. Each chooses a person in the room and tries to follow them without detection. 3. Emotion - The pupils are asked to move round the room as if they are feeling e.g. hot, cold, tired, worried, frightened. It can help if these feelings are put into context – give the pupils a scenario. For instance (to the pupils): "You are worried – you have done something dreadful and the Head Teacher has heard all about it - what do you look like when walking down the corridor to the Head Teacher’s room to face the biggest row of your life?!" 4. Movement - The pupils are asked to walk round the room as if crossing different surfaces – try icy pavement, boggy field and hot sandy beach. Consider the surfaces in an African rainforest, savannah or marsh – on soft grass, hard stone, marshy ground, in water up to the ankle, in water up to the knee, in water up to the knee which is murky and could be full of snakes, slime or underwater plants. 2.3 Workshop 1 - Africa

Africa: Life is good © Alistair Devine

Discussion Discuss with the pupils how people are persuaded to do something, e.g. wanting to fit in, wanting to impress, financial gain, bribery, threat.



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Ask the pupils to imagine that they are now to play an important part in the Triangular Trade in the 1700s – enslaved people must be taken from Africa to work in such places as Jamaica and America. Explain about the goods brought from Scotland - such as guns, cloth, copper and brass – that were used as payment for people. Pairs ‘A’ is an African slave trader (or raider) ‘B’ is Scottish, from the slave trade ship. ‘B’ tempts ‘A’ by displaying guns and other goods – which ‘A’ will have if they supply people to be taken as slaves. Discussion How people lived in Africa – where they got their food from, how they made their clothes, what type of homes they lived in, their craftwork, stories and songs, the climate Pairs Plan and enact scene showing typical day – e.g. hunting, farming, weaving, metalworking, cooking, playing. Discussion How would a Slave Trader capture their victims? Suggest such methods as creating a distraction, the element of surprise and entrapment. Pairs Still Images – each pair freeze the action: 1) “Caught” – image shows how Slave Trader captures child. 2) “Help Me” – shows reaction of child. 3) “Journey to the ship” – shows suffering of child and cruelty of capture. Small group improvisation Build a scene showing two young people captured and taken to the Scottish traders (who are waiting along the coast with a big rowing boat - to take them to the slave ship). The scene should include what the young people were doing, slave traders spying on them, the slave traders plotting to catch them, the capture. Discussion How would the young people feel? What might they be afraid of? What were the slave traders thinking?



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2.4 Workshop 2 – The Ship

The Slave Ship: Your brother has died © Alistair Devine Discussion Discuss life on board a slave ship, how the captives were kept and the views of the Captain and crew about their “cargo”. The painting Slavers Throwing Overboard the Dead and Dying -Typhoon Coming on by J.B.W. Turner can be used. Excerpts from Olaudah Equiano’s book could be read. (See Resources). What would the enslaved people be thinking as they approached the ship and went on board? How might they be treated by the sailors? Where were the slaves taken on the ship? What would the living conditions be like? Whole class activity Pupils are arranged as if they were below deck on a slave ship, i.e. lying on floor, with head by the feet of the next person, and ‘chained’ together. There is little room – they are crushed together. One pupil is set to watch the class - who are not allowed to move or talk. Pairs Captain and First Mate - discuss the “live cargo” and the difficulties that lie ahead. Captain is of the opinion that the slaves are not important - but must be kept as well as possible so that they can be sold profitably. How does the First Mate feel? Whole class activity Class split into two groups – sailors and enslaved people. It is exercise time and the men must be kept separate from the women. Sailors mime lowering a partition that will keep them apart. Men are still chained, women and children allowed to move freely. Both groups are watched by the sailors at all times. Some groups might try to form a plan to escape or take over the ship.



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Discussion Show the painting Slavers Throwing Overboard the Dead and Dying – Typhoon Coming on by Turner. Ask the pupils to describe what they see and what they think is happening. Pairs Captain and First Mate – First Mate tells Captain that, because the ship has been pushed off course by the rough winds, their food supplies are running low and asks what he should do. Captain tells First Mate to get rid of any excess “cargo” (any slaves that are ill) so that there is enough food for the healthy ones. First Mate - does not want to comply and says that the slaves are people. Captain - sees them only as money (he is angry that he will lose some of his profit but he will lose more if all his “cargo” starve). Whole class activity Slow motion action of slaves being thrown overboard. Hot seating Teacher or pupil takes on role of First Mate. Class can ask the First Mate questions about life on board ship and his/her opinion of the Captain, and why s/he followed the Captain’s orders, etc. This exercise could also be repeated with the Captain and a Slave (eyewitness). 2.5 Workshop 3 – The Plantation

The Plantation: Cutting sugarcane and overseer © Alistair Devine Discussion Discuss what happens next – the slaver (slave ship) docks and the enslaved people are now to be auctioned. What state of health are they in? What might they be thinking?



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Whole class activity The Slave Auction. The enslaved people have arrived at their destination of Jamaica (West Indies). One pupil is chosen as an Auctioneer, a small group as Slaves and the rest as Buyers. Each slave is described and bid for in turn. This is rather like a horse market – the slaves are looked over, they might be asked to show their teeth or to walk about. Buyers should consider what they want to buy (for instance, a house slave or a plantation worker or someone to work in the sugar mill?). Healthy male slaves were of high value. The pupils might be told that they have a limited amount of money (for simplicity, perhaps 5 gold pieces each) and that they must use the money wisely at the auction. Small groups Scene showing lives of domestic slaves - who work in the plantation house for the owner’s family, e.g. washing clothes, cleaning the house, sewing, cooking, looking after the children – or acting as valets or footmen, gardeners, odd job men. Some of the slaves might describe what they have to do, their hours of work and how they are treated. Movement piece – on a sugar plantation. One pupil is an Overseer (slave driver), the others are Slaves (enslaved people) who are cutting the sugar cane. Sugar cane was exceptionally hard to cut. They used big machetes. The slaves are in line, each doing the same action at the same time - a) cutting b) stooping to pick up cane c) straightening up and d) putting cane in piles. Actions become slower as the slaves grow more tired. The overseer forces them on. Improvisation. It is the end of the day and the enslaved people are preparing to rest. These are new slaves and each group discuss a plan and then try to escape from the plantation – but each attempt is foiled by the slave drivers. The ring leaders will be punished.



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2.6 Workshop 4 – Scotland

Abolition of slavery "Freedom!" © Alistair Devine Discussion Discuss how some slaves moved with their owners to a different country. Some came to Scotland. What troubles might lie ahead for them? Pairs Two slaves discuss the fact that one of them is moving with the owner to Scotland. Are the two enslaved people related or perhaps close friends? How do they feel? Pairs ‘A’ is Slave Owner ‘B’ is Slave. Boy: Owner explains to slave that he has been chosen for his good looks and demeanour. Life in Scotland is going to be different for him. He will learn duties such as opening a front door and greeting important guests, serving at table, laying out clothes, etc. He will have a good suit of clothes and be expected to behave with dignity. He must learn to walk as a gentleman (shoulders back, stomach in, head held high, feet turned slightly out). However, he will wear a metal collar at all times, with his owner’s name on it, so that escape will not be possible. Girl: Owner explains that she has been chosen for her good nature and usefulness to the mistress of the house. She will look after her mistress’s every need, including dressing her hair, caring for her clothes and looking after the children. She will only leave the house when taking the children somewhere. She will not leave the house on her own. Groups of four ‘A’ is Slave Owner ‘B’ is Slave Owner’s Wife ‘C’ is Slave Owner’s Child ‘D’ is Slave. The family has now arrived in Scotland and are moving into their new home. Scene showing their new life and that of the slave – what has changed from the old life?



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Whole class activity Conscience Alley – class split into two groups, one group supporting slavery and the other supporting abolition. The groups are lined up facing each other with a large gap between them. One pupil stands between the groups - each group in turn tries to win that pupil over to their side. If the pupil in the middle agrees with what one group says then s/he takes a step towards that group. Discussion How could an enslaved person ‘earn’ their freedom? A slave remained enslaved for life unless something special happened. Occasionally an owner in Scotland might decide to free their slave (see Scipio Kennedy); some granted their slaves freedom when they died. (In 1778, it was ruled that slavery could not exist in Scotland.) Small group improvisation Create a scene showing how the slave obtains freedom; perhaps the slave saves the master’s life – perhaps the 1778 judgement is made. 2.7 Conclusion

© Alistair Devine

The workshops were used to create three different types of performance (see Scripts). They can also be used to inspire output in other media – such as arts & crafts, music and dance, storytelling and writing.



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2.8 Scripts

Abolition of Slavery, drama workshops, Glasgow 2007 © Wendy McMurdo The outline for these scripts was created by the drama specialist and the basic story remains the same. The presentation of the story is different with each group, however. The dialogue and actions continued to evolve throughout the workshops, as the young people added their own ideas.

The scripts have been adapted slightly for the pack.



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2.8.1 Script 1 – Dramatic Performance David Livingstone Memorial Primary School. This was for a performance before the school and the pupils’ families.

Characters Narrator Slave Traders Slave Family Captain First Mate Auctioneer Plantation Foreman Enslaved people Slave Owners Sailor Announcer Script 1 – Dramatic Performance Enter Narrator. Looks at the book in his/her hands.

Narrator I have lived here in Africa for many years and heard many stories, some good, some bad – but this story is one of the saddest, the bravest and the worst that I have ever heard. It is about a young boy and his sister who live in a village not far from the coast. Today they are playing happily, unaware of what is about to happen to them.

Enter Boy and Girl, take up position of playing a game. Freeze.

Narrator Watch carefully, their story is about to begin.

Enter Slave Traders talking about how they plan to capture some people and trade them for goods with sea captains from Scotland and other countries.

Head Trader It is very easy. The ships arrive from across the world and in exchange for a few people we will get guns, copper, cloth, jewellery . . . everything we could want. What could be easier?

Trader 1 So, how do we do it?

Enter Captain, First Mate and two or three sailors. Captain Ah, there are the men I was telling you about. Get the guns and other goods to show them. Our ship will soon be loaded with our live cargo!



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Sailors get goods and show them to traders (mime) Traders seem very interested, shake hands, nod heads in agreement as if making a deal (some dialogue can be used here). The traders leave and walk across country.

Trader 1 watches children playing including the boy and his sister. Trader 1 makes plan. The traders encircle the children, preparing to pounce. Scene showing children being caught.

Narrator So many slaves were caught – men and women, and also children. They were chained and yoked together and forced to walk many miles to the ships. Some struggled, some cried, some were too frightened for sound.

Sailors drag on groups. The last group has the boy and his sister. Groups freeze in front of captain.

Captain How many are here? I need 600 for a good profit. First Mate , do we have enough to set sail?

First Mate Aye Captain. These are the last . A few good specimens too.

Captain (after inspecting slaves before him) Well, get them on board. Wait (pointing at boy and sister) These two don’t look too strong. I don’t want anyone who won’t survive the journey. (Looking at them closely) Hmm! They’ll do I suppose. Get the barrier in place. Remember to separate the men from the women.

Two sailors put barrier in place (mime) Scene of slaves being taken on board and chained together below deck. Two sailors left to guard them.

Narrator There was scarcely room for the slaves to move. Time passed slowly. The ship rocked from side to side as it broke through the waves. Every day the slaves were given a short time for exercise. It was here that the boy was able to hear news of his sister. He would sit near the barricade and try to speak to her. One day she did not answer. She had died of a fever that now swept through the whole ship. Food and water supplies were small, the slaves suffered more and more. Some began to plan escape!

Show escape attempt. Slaves are rounded up and taken away. First Mate All the slaves are below sir. Food and water is running short. We may run out soon. What should we do sir?

Captain How much is left?

First Mate Enough to last a day or two, no more than that.

Captain There’s only one thing to be done then. Any slaves who are not fit and well must be thrown overboard. At least the fishes will be well fed!



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First Mate But sir! We can’t do that. They’re people after all.

CaptaIn They are cargo to be exchanged for money! No more, no less. We need strong healthy ones to sell when we reach the West Indies! So get rid of the sick ones now. That will leave enough food for the rest! Do as I say and throw them overboard!!!

First Mate But sir, that’s not . . . . . .

Captain I gave you an order. Do it!

First Mate Aye sir.

Scene showing the men and women being thrown overboard. Captain watches.

Narrator And so the journey continued in the same way from day to day until they reached Jamaica. The ship docked, the slaves unloaded and taken to auction.

Auction scene

Narrator The slaves had been bought by their new owners to work on plantations, where the hours were long and the work backbreaking.

Plantation scene. Cutting sugar cane. Small groups. Escape attempt 2

Narrator Most of the slaves worked on the sugar plantations. But not every slave worked on the plantation. Some worked in the master’s home – cooking, cleaning, washing, sewing, looking after the children – or they worked in the garden. Boy was luckier than most. He was slave to a plantation owner who was about to return to Scotland, to run his businesses in Glasgow. Boy was to go with him. He was chosen because he was young and strong, and useful to the Master.

Scene of Boy packing, carrying heavy boxes and cases. Master is irritated when he doesn’t work hard enough. Boy beaten. Master’s children make fun of him.

Master Hurry Boy, hurry. Pick up that box and bring it to me. Do not drop it!

Narrator But in Scotland, Boy’s work was no better than it had been in Jamaica and what was worse – the weather! Rain, snow, wind, gales, storms. Boy had never seen anything like it! At night he was kept chained in case he should escape and around his neck he wore a metal collar engraved with the name of his master. It seemed to him that his whole life would be spent chained up, working twenty-four hours a day and never knowing love from anyone. He would never be free. Then one dark evening, his Master was coming home from his business, when he was attacked by thieves…



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Scene showing Boy fighting thieves and saving life of Master. In return for this deed Boy receives his freedom.

Master What is your name, Boy? Do you have a name?

Boy It is Kofi.

(Boy) Kofi I am free. But I will go on fighting! Fighting to gain the freedom of other slaves, to get rid of slavery for ever.

All cheer.

Narrator Many Africans rebelled on the plantations. And many people campaigned against the slave trade, writing books and letters, giving talks and demanding action from Parliament. Until, eventually, the British slave trade was abolished – no Briton could ever own a slave again. But look around you. There are still 12 and a half million slaves in the world today. Has anything really changed?



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2.8.2 Script 2 – School Assembly Shawlands Primary School (two classes). This was for two School Assemblies. Below is part one of the story. The second class completed the story.

Characters Narrator Captain Boy Friend of girl Slave Traders Enslaved people Girl First Mate Script 2 – School Assembly Narrator Welcome to our P6 Assembly, our topic is Slavery. (Provide a short introduction about Scotland and the Slave Trade, the slave traders and the transatlantic trade.) We are now going to show you some of the terrible things that happened in the past. Watch as our story unfolds. Welcome to Africa. (Slave Traders and Sailors take their places and freeze action)

Watch and listen as the African traders sell people to the Scottish traders.

(Slave traders and Sailors mime looking at cloth, copper, guns, brass manillas. Groups freeze and one group carries on action and this time also speaking - the African traders agree how much they want before they will bring captives to the Scottish traders. When they finish groups can carry on mime.)

Narrator So, now the new slaves are to be captured. The village people are outside their homes, the men are fishing and the women washing clothes at the river; the children are playing. But they are being watched. (Village People and Slave Traders take up their positions. Scenes of capture are enacted. A boy and his sister hang on to each other but are forcibly separated). The boy's name is Diji and the girl is called Hanna.

Narrator The captives were yoked together and taken to the ship. (Children line up and Captain and First Mate inspect them)

Captain Is this the best you could do? Get them on board. Remember to separate the men from the women. (Sailors take the group on board. Men are kept separate and chained together. Both groups are made to lie down with their feet next to the head of the next person.)



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Narrator The slaves were chained very close together so they had hardly any room to move. Every day, when the sea wasn’t too rough, they were taken on deck for exercise. The women and girls were kept separate and a wooden partition was lowered to keep them apart. (Sailors mime lowering partition. Sailors watch from sides.)

Narrator Diji and Hanna were separated but, from time to time, they managed to speak to each other. (Hanna approaches the partition.)

Hanna Diji, where are you? (She moves up and down trying to find him)

Diji I’m here.

Hanna Are you alright? How are they treating you?

Diji Not well. We are chained all the time and I’ve been beaten as well. It is really awful.

Hanna It will be over soon

Diji I hope so. (Hanna and Diji return to own group)

Narrator Day after day Diji listened for his sister, but he heard nothing until one day . . . . (Friend of Hanna approaches the barrier)

Friend Diji, where are you?

Diji I’m here, where’s my sister?

Friend I’m sorry, I’ve got some terrible news for you. There has been a bad fever and she died in the night.

Diji (covering eyes) No, no.

Friend Hanna said you were to be brave and keep going.

Diji I’ll try

Friend I’m so sorry (Friend and Diji return to their places)

Narrator Supplies of food and fresh water were getting low and the First Mate went to report to the Captain. (First Mate goes to door of the Captain and knocks. Captain is busy working, perhaps counting money)

Captain What do you want? Can’t you see I’m busy?

First Mate Pardon me Sir, but the supplies for the Slaves are getting short – we’ll run out soon.



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Captain Well, what do you expect me to do about it?

First Mate And illness is spreading as well Sir. (Captain thinks for a short time)

Captain Well, there is just one thing that can be done – throw the dead and the dying overboard, that’ll lighten the load anyway.

First Mate (shocked) But Captain, you can’t do that, they’re human beings. They have the same rights as you and me.

Captain They are simply a cargo - they’re only worth money to me, nothing more, nothing less.

First Mate But Captain . . .

Captain I said throw them overboard!

First Mate (reluctantly) Yes Sir

Captain And do it now. Close the door behind you. (First Mate leaves cabin. Sailors close in around sick slaves and slow motion mime of slaves being thrown overboard is performed, leaving the Captain and First Mate watching)

Some West African names

Boys Diji (dee-jee) = means - farmer (Nigeria) Kofi = born on Friday (Ghana) Minkah (meen-kah) = justice (Ghana) Sekani = laughter (West Africa)

Girls Amina (ah-mee-nah) = truthful, honest (West Africa) Binta = with god (West Africa) Hanna = happiness (Nigeria) Yaa = born on Thursday (Ghana)



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2.8.3 Script 3 – Narration and Freeze Frame

Group shot of Boys Brigade 2008 © Wendy McMurdo Script 3 – Narration and Freeze Frame The Boys' Brigade (9th Glasgow Company, Pollokshaws Parish Church). This was for the Commemoration Service which took place at David Livingstone Centre, marking the bicentenary of the abolition of the British slave trade. The boys, aged 10 years upwards, were from many parts of the world including Afghanistan, Algeria, Cameroon, Democratic Republic of Congo, Ethiopia, Kenya, Pakistan, Russia, Rwanda, Scotland, Sri Lanka, Somalia, Turkey, Uganda and Zimbabwe. For several, English was their second language. Each scene was mimed, with action freezing for a few moments to create tableaux. (The boys then walked back to the side of the stage until the next scene took place.) Each scene was introduced by a narrator (one of the boys). This method creates very strong images. Running Order:

• Announcer: Introduction – Scotland and the slave trade. • Groups of slaves, slave driver, on plantation. • Announcer: But what happened before this? • Captain, 1st Mate, Sailor. Bartering for the capture of slaves. • Father, Son and Slave traders. Father warns son of danger, son playing outside, son

captured, father tries to save him and is also captured. • Enslaved people put on ship • Captain, Sailors, Slaves. The conditions below. • Slave Auction. Silent auction, father and son sold and separated. • Master/Slave. Punishment. Slave asking for mercy, then silent. • Plantation.



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• Announcer: But after a long campaign, the British slave trade was abolished in 1807, and slavery in 1833. So what about today. No slaves today – surely?

• Newsroom Reporter: standing in modern TV studios giving report - about slavery in the past and now. Boys form groups (freeze frame) – they become images within the film footage, as Announcer refers to them.

And finally: Announcer: There are over 12.5 million slaves in the world today. Has anything really changed?



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Dilemmas This section looks at some issues surrounding the slave trade and slavery. These are for discussion work though, of course, further work can come from them. 10 years upwards

• When Zachary Macaulay went to Jamaica, aged 16, he joined the slave trade system. He wrote that, at first, he was shocked at the plight of the enslaved people - but then became ‘callous and indifferent’. He worked as an assistant manager on a plantation and wrote home that ‘…no sooner than a person sets foot on (this island) than his former ways of thinking are entirely changed…’ Eventually, Macaulay returned to Britain – where he campaigned against the slave trade. What would you have done if you had gone to Jamaica in those days?

• Peer pressure – doing something you don’t agree with to ‘keep in’ with those around you. Is there any time when you feel you have done this? Consider the names given to people who speak out. When is it good to speak out and when is it simply ‘telling tales’?

• Why do some people want to control others? Why do some people ‘stand on’ others to make themselves feel taller? Some say: the bullied one is the weak one (and therefore deserves to be bullied) - is this true?

• Should we use different words when describing the Slave Trade? For instance, enslaved people rather than slaves? If so, why do you think this?

Older students

• The Transatlantic Slave Trade, with its demeaning words and images has created and perpetuated racism against black people and, in particular, those of African descent. Is this true?

• Is the Transatlantic Slave Trade - with the many millions of Africans who died or were displaced - like the Jewish Holocaust?

• Should we drop the term ‘slave trade’ (implying a normal trade) and use Maafa (from a Kiswahili word: disaster, tragedy)?

• Consider Wedgwood’s medallion of a kneeling African, with the inscription ‘Am I not a man and a brother?’ Some people think it is sympathetic – but others think it is patronising. What do you think?

• There is also a Wedgwood medallion depicting a woman. Thousands of women and girls were enslaved. And many British women campaigned against slavery – though they could not vote. (It has been suggested that the women’s Suffrage movement in Britain stemmed from the Abolition movement – women learnt how to use action groups). Do you think women – enslaved women and campaigners - are represented fairly in accounts of the Slave Trade?



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• Consider the African Diaspora, caused by the Transatlantic Slave Trade, and what effect the depopulation had on the West African countries. Consider the dynamic effect the Diaspora has had on European and American culture (for instance, language, art, music and politics). Would you say, from a modern perspective, there were any good outcomes from the Slave Trade?

• In 1787, Robert Burns planned to go to Jamaica to become a ‘negro driver’ (see Resources/Books – Letter to Dr. John Moore – and The Slave's Lament). Instead he became a famous poet. But, what if his poems had not been published? What if he had gone to Jamaica as an unknown, impoverished, young man? Would he have joined the slave trade system or not?

Robert Burns (1759-96) Image courtesy of Burns Monument Trust



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4.0 Resources

Olaudah Equiano Glasgow City Archives and Special Collections



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4.1 Books Drama for schools Patrice Baldwin; Primary Drama Handbook Donna Brandes and Howard Phillips;Gamesters’ Handbook Joe Winston and Miles Tandy;Beginning Drama 4 – 11 Judith Ackroyd and Jo Boulton; Drama Lessons for 5 – 11 Year Olds The Slave Trade African writers, 1700/1800s Olaudah Equiano; The Interesting Narrative..; 1789; reprints 1988; 2006 Scotland Iain Whyte; Scotland and the Abolition of Black Slavery 1756-1838; 2006 Britain James Walvin; A Short History of Slavery; 2007 Painting, Poetry, Letters J.M.W. Turner (1775 – 1851) Painting (oil on canvas) Slavers throwing overboard the Dead and Dying - Typhoon Coming On (‘The Slave Ship'); exhibited 1840 Henry Lillie Pierce Fund; Museum of Fine Arts, Boston www.tate.org.uk/collection/ (Go to: Search the Collection:Turner/Slavers Throwing Overboard…) Robert Burns Complete Poems (many different editions) The Slave's Lament; written 1792 Letters (different editions) Try your local library or bookshop Or check out: www.rbwf.org.uk (Poems and Songs, Letters of Burns)



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4.2 Websites Drama for schools Learning Teaching Scotland Information on curriculum requirements, plays, drama games, etc. Primary and secondary school www.ltscotland.org.uk Arts Council Drama in schools – online book www.artscouncil.org.uk/documents/publications/725.pdf

The Slave Trade On-line teachers’ resources about the slave trade Learning Teaching Scotland www.ltscotland.org.uk/abolition/index.asp BBC - education www.bbc.co.uk/scotland/education/hist/abolition Anti-Slavery International www.antislavery.org (go to Education) Understanding Slavery – museum group: www.understandingslavery.com Slave ships, eye-witness accounts, etc. American website – go to Slavery 1750-1870 www.spartacus.schoolnet.co.uk Abolition www.abolition.e2bn.org

Scotland and the Slave Trade Scottish Executive On-line book www.scotland.gov.uk/Publications/2007/03/23121622/0



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5.0 Contact

Debbie Jackson Learning Services Department, The National Trust for Scotland [email protected] Frances Baker Drama Specialist [email protected] Photographers (drama section): Pollokshaws Boys Brigade © Wendy McMurdo Wendy McMurdo www.wendymcmurdo.com Shawlands Primary School © Alistair Devine Alastair Devine Photography [email protected] David Livingstone Memorial Primary School © Sandra Cushnie Acknowledgements: Frances Baker (who devised the school workshops and wrote the drama sections) Dr. Stuart Nisbet (who shared his research on the Allasons and Greenbank House) The pupils and teachers (Mrs. Cushnie, Mrs. Forrest, Mrs. Beattie) at David Livingstone Memorial Primary School, Blantyre, & Shawlands Primary School, Glasgow The young people and leader (Bob McLay) at The Boys Brigade, 9th Glasgow Company, Pollokshaws Parish Church Volunteer researchers: Caroline Burt, Vanessa Lill, Diane Gorman, Gary Li The NTS learning officers: Alison Ritchie, Sarah Barr, Jennie Cochrane

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