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Sponsored by:

Media Sponsors:

First Stage is committed to the development of new plays that celebrate the history and people of Wisconsin. With these plays and associated workshops, special events and educational initiatives, we hope to bring heightened awareness to the rich heritage of our state.

This program is supported in part by a grant from the Milwaukee Arts Board and the Wisconsin Arts Board with funds from the state of Wisconsin.

Funded in part by a grant from the Children’s Theatre Foundation of America.

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SETTING THE STAGEpreparing for the play

Synopsis . . . . . . . . . . . . . . . . . . . 3–4About the Playwright . . . . . . . . . . . . 5Recommended Reading . . . . . . . . . 9Pre Show Questions . . . . . . . . . . . . 4

FOR TEACHERSCurriculum connectionsbefore or after the play

SOCIAL EMOTIONALConversations on Race . . . . . . . . . . 6What does Compassion Look Like? . . 8

LANGUAGE ARTSMilwaukee Stories . . . . . . . . . . . . . . . . .7

THEATER ARTSWisconsin’s Got Talent! . . . . . . . . . . . 9

MATHA Living Band . . . . . . . . . . . . . . . . . 10Service and Community . . . . . . . . 11

GIVING BACK A Service Activity for Families or Classrooms . . . . . . . . . . . . . . . . 12

CURTAIN CALL

Post Show Questions . . . . . . . . . . 13Who Said It? . . . . . . . . . . . . . . . . . 13Who Said it? (ANSWERS) . . . . . . . 14

INSIDE T HE GU IDE

FIRST STAGE POLICIES• The use of recording equipment and cameras are not permitted during

the performance .• Food, drink, candy and gum are not permitted during the performance .• Electronic devices are not permitted in the theater space .• Should a student become ill, suffer an injury or have another problem, please

escort him or her out of the theater space .• In the unlikely event of a general emergency, the theater lights will go on

and the stage manager will come on stage to inform the audience of the problem . Remain in your seats, visually locate the nearest exit and wait for the stage man-ager to guide your group from the theater .

Seating for people with special needs: If you have special seating needs for any student(s) and did not indicate your need when you ordered your tickets, please call our Assistant Patron Services Manager at (414) 267-2962 . Our knowledge of your needs will enable us to serve you better upon your arrival to the theater .

WELCOME TO BRONZEVILLE

Dear Educators and Parents, Come back to the 1950s in Milwaukee’s very own historic Bronzeville neighborhood in the world production of WELCOME TO BRONZEVILLE . Part of our Wisconsin Cycle, WELCOME TO BRONZEVILLE is a coming of age story about Michael Jr ., as he begins to forge his own path and discover how his community supports and lifts him up along his journey . Written by First Stage’s own Sheri Williams Pannell, WELCOME TO BRONZEVILLE explores community, family values and responsible decision making .

Enclosed in this enrichment guide is a range of materials and activities intended to help you discover connections within the play through the curricula . It is our hope that you will use the experience of attending the theater and seeing WELCOME TO BRONZEVILLE with your students as a teaching tool . As educators and parents, you know best the needs and abili-ties of your students . Use this guide to best serve your children—pick and choose, or adapt, any of these suggestions for discussions or activities . We encourage you to take advantage of the enclosed student worksheets—please feel free to photocopy the sheets for your stu-dents, or the entire guide for the benefit of other teachers .

Enjoy the show!

Julia MagnascoEducation Director(414) 267-2971Julia@firststage .org

A NOTE TO TEACHERS AND PARENTS

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It’s Monday morning and the summer of 1957 has officially started in the Bronzeville community! Bronzeville was a strong community in Milwaukee, WI . Community members prepared for the Haymarket Square Montage on this particular day . Everywhere you look there were vendors and customers with baskets of fruits, vegetables, and flowers as well . While most kids were out playing, Mike and the Market Square Boys were out making trouble . For the second time today Sgt . Chaney had caught the boys being messy . The boys decided to play a little round of King Boss with Sgt . Chaney and Mike was the chosen ‘it’ person .

Standing before Sgt . Chaney, Mike knew he would be in trouble . For starters, he was supposed to be helping his mom at the market, and crimes like stealing and trespassing in Bronzeville were means for juvenile detention . For Mike, being a juvenile delinquent was out of the question . He had a position to uphold as the deacon’s son, and that reputation did not include stealing apples from the Haymarket Square . Luckily for Mike, Sgt . Chaney knew his family and always promised to be fair, so he didn’t take Mike to Juvenile . Instead, Mike would have to help Mr . Jones at his apple stand the following Saturday .

At home, Mike’s sister Debbie, along with their cousins were preparing to take on the Regal Theatre’s Bronzeville Follies . This year would be the first time they allowed children to participate and compete for the twenty-five dollars cash prize . The kids had been rehearsing in the house while trying not to wake the deacon, Michael Sr . They had found their sound, and called themselves The Walnut Street Troubadours . They were ready to make their debut but had one little problem . Since they were kids, they needed a parent’s permission to compete and they weren’t so sure the deacon would allow it . However, Irene, Mike and Debbie’s mom might just be their prize to perform . The kids were convinced that if they could get her to agree, the other parents would fall in line . After buttering up Irene with pleases, referring to her as the “favorite aunt,” and showering her with “I love yous,” she agreed to think about it for now, and let the kids go swim at Lapham Park Pool .

While the other kids were out swimming, the time had come for Mike’s parents to find out about his day . Sgt . Chaney had brought Mike home, and his mom knew at first sight that Mike had done something bad . From Mike’s perspective it was difficult being the deacon’s son . He was constantly teased by the other fellas and dared to do things he knew would get him in trouble at home, but build his bold reputation outside the home . For Michael Sr . it was simple, and frustrating when his son did things that didn’t line up with their family principles and values . Mama Irene sent the deacon back to bed to rest and decided she would have a little chat with Mike to hopefully get his act together .

The lights are out and Michael Sr . has returned home from work . He shares his news with Irene about the family hosting a house guest for the weekend . Although the grocery list of the guest doesn’t follow their home rules, the money could be a huge help to the family’s mortgage . Following that discussion, Mama Irene had some news of her own to share with the deacon . She attempted to get him to support the kids doing the Follies, but Michael Sr . wasn’t having it . He gave his answer, no, and shut the conversation down . Little did he know, Mama Irene wasn’t giving up that easily . Michael Sr . couldn’t see the kids singing outside the church, and he definitely wouldn’t support them singing a non-gospel song . This disagreement caused an argument in the Dubois home the following afternoon . The kids listened carefully to pick out valid points being made, as well learn things they never knew about their parents, aunt, and uncle . When the end had come, Michael Sr . signed the paper . He allowed the kids to participate under the agreement that they would also practice their gospel songs for the sunshine band at church .

With excitement the kids rehearsed their piece for the competition . All hands were on deck, and they were sure with their song, choreography and talent they could truly win . After the hard work came some television time . Mike wasn’t into what he called the “kid shows” and instead decided to hangout on the porch . Low and behold he came across his trouble making crew . They were still calling him “King Boss” for holding up to his dare at the Market last week . It didn’t take long for conversation to spark about the Follies . It was the talk of the town, and it just so happen that the Market Square Boys were planning to do their own pieces in the competition .

SETTING THE STAGE SYNOPSIS

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The Market Square Boys invited Mike to join them on their adventures for the rest of the day . Although he knew he had to watch his cousins and sister, he couldn’t resist and eventually gave in to go hang with the boys . His attempt to sneak in the house later that night had failed . Michael Sr . had caught him and didn’t let him live it down .

It was Friday, also known as the day of the Regal Theatre’s Bronzeville Follies . So many people young and old performed that night . Yet, The Walnut Street Troubadours were the only ones to take home a trophy and a twenty-five dollar cash prize . The group was so good that they had been invited to come back the following night and perform with the guest artist . The kids and Irene couldn’t wait to tell Michael Sr . when he returned home that evening . As he entered the house they all yelled surprise and Debbie ran to him with the trophy . Michael Sr . also had a little surprise; their house guest had arrived and it was none other than the great Miss Billie Holiday .

Mike had done quite a bit of work to rebuild his reputation in the community . So much so that Mr . Jones had offered him a job at the fruit stand, and he’s been invited to open a passbook account at Columbia Savings . The community members were sure to uplift during his time of good doing . Mama Irene and Debbie were home and chatting it up with Miss Holiday . Irene and Billie Holiday were becoming friends and Debbie was enjoying the company of a puppy . Mike Jr . had returned home with his bag full of fruit, and Michael Sr . was ready to address his “whereabouts” from the other night . Full of tension, young Mike had a conversation with his father . There weren’t enough words to describe how each one was feeling, but they both knew they had to go on from this point and be better . With that, Michael Sr . went off to work .

That day the house guest, Miss Holiday, shared words of wisdom with both the deacon and his son on separate occasions . Not long after, the kids at the Dubois house

decided to go to their favorite summer spot, Lapham Park Pool . Once again, Mike was faced with a decision to join his friends, The Market Street Boys in their endeavors or play with the kids . Today the Market Street Boys, were plotting to tattoo their skin with the initials MSB . It would be a sign to upholding their positions as trouble makers in the neighborhood . Even though Mike didn’t want to, the teasing got to him and he was about to make a permanent choice to get the ink . This time, the kids would come to his rescue . Debbie, and her cousins came running when they thought Jose, one of the MSB kids were hurting Mike . Frustrated, Debbie and the kids ran off to go home . Mike followed them and tried to ignore the echoes of “cry baby” and “gotta go home to mama deacon’s boy .”

Mike then decided to walk . He walked up and down Walnut Street for hours . He walked so much that he almost missed the concert at the Regal that night . Upon arriving, he spoke with his mom first . After struggling with what to do and who to be, Mike had finally reached a decision . It was after the show and during the reception that he revealed his decision to his dad . He wanted to be around his dad, but he didn’t want to a deacon . Mike discovered he had his own dreams of one day owning a business, preferably a hotel that Debbie could perform at, and famous people like Miss Holiday could stay at . In that moment, he made his father proud . The deacon accepted that Mike didn’t have to follow his footsteps in order to live out their family values .

SETTING THE STAGE SYNOPSIS

1 . WELCOME TO BRONZEVILLE is a story of a young man discovering his own dreams . What are your dreams? What inspired you to live that dream?

2 . Mike, a teen in Bronzeville struggles with other kids bullying and teasing him . He received a lot of peer pressure to do things he knows will get him in trouble . What forms of peer pressure do you see on a daily basis?

3 . Some kids find different activities or organizations they can become a part of to keep them out of trouble . How do you think keeping busy with extra-curricular could keep kids out of trouble?

4 . Mama Irene is the person who keeps the family together, even when things get rough . Who in your household is good at bringing your family together? What tactics do they use to keep peace with everyone?

PRE-SHOW QUESTIONS

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A NOTE FROM THE PLAYWRIGHT

Come where the grown folk work and the children play; Welcome to Bronzeville U---S----A! Welcome to Bronzeville by John Tanner (composer) and Sheri Williams Pannell (lyricist)

As I researched Milwaukee’s Bronzeville history and interviewed elders who grew up in the community during the 1950s, I became awe struck by what I learned. The men and women glowingly described neighborhoods where doors were not locked and children safely played outdoors until dark. Their teachers, preacher, police officer, doctor, dentist and attorney literally lived on your block. Neighbors walked to the market, shops, YMCA, church and park.

Milwaukee’s Bronzeville was self-sustaining with thriving businesses and an entertainment district. Segregation was the cul-prit, but it made for a culturally rich and vibrant community. Those adults who worked outside of Bronzeville were employed at factories, breweries and foundries. Homeownership was high thanks to Columbia Savings and Loan.

Did the community have challenges? Yes, but with the spirited leadership of men like Police Sgt. Felmers Chaney and women such as entrepreneur Ardie Halyard, most problems were handled by the neighbors who helped parents in rais-ing their children and assisted new arrivals to the community with jobs and housing. People cared about one another. They modeled good citizenship in how they cared for their homes, supported local businesses, practiced their faith and valued education. Many of these homes and businesses were listed in Milwaukeean Mary Ellen Shadd’s nationally recognized Negro Business Directory which promised, “Vacation Without Humiliation.” National entertainers loved coming to Milwaukee’s Bronzeville to enjoy a peaceful break from a busy tour.

If I sound wistful, it’s because I am. I keep asking myself, what would it take to bring our neighborhoods back to the golden age of Bronzeville? This is a question we will have to answer as a community. I hope WELCOME TO BRONZEVILLE will inspire us all to work toward a renaissance of this beautiful place called Bronzeville in our city of Milwaukee!

Sheri Williams Pannell was born in Milwaukee, WI and grew up in the Harambee neighborhood . Her love of the performing arts began when she would sing bedtime duets with her mother, Valena . At age 5, Sheri began ballet and modern dance classes at the Academy for Beauty and Culture which was located on Third and Center Street . She loved attending Sunday School and sang in the Cherub Choir at Calvary Baptist Church, which is mentioned in WELCOME TO BRONZEVILLE . Sheri attended Milwaukee Public Schools and enjoyed the many music and arts classes offered by MPS including violin, piano, harp and drama . She graduated from Riverside High School, where she played French horn in the marching band and orchestra, All City Band, Bicentennial Orchestra, participated concert choir and drama club, and was vice-president of her senior class . The day after her high school graduation, Sheri traveled to Atlanta, GA to attend Spelman College, where she earned a B .S . in Natural Science-Health

Science . She also holds a Master of Fine Arts in Theatre and Drama from UW Madison .

When Sheri returned to Milwaukee, she also returned to her first love, the performing arts! She has performed, directed or written for a number of Milwaukee’s theaters, and community service organizations including First Stage, Skylight Music Theatre, Florentine Opera, Milwaukee Chamber Theater, Milwaukee Public Theater, Milwaukee Rep, Milwaukee Symphony Orchestra, African American Children’s Theatre, Sunset Playhouse, UWM Peck School of the Arts, Milwaukee Art Museum and Boys & Girls Clubs of Greater Milwaukee . Beyond Milwaukee, Sheri has worked at Oregon Shakespeare Festival, Utah’s Old Lyric Theatre, University Opera- University Madison, University Theater at UW Madison and the Children’s Theatre of Madison . Sheri is an Education Lead Teacher and Dramaturg at First Stage where she was commissioned to write WELCOME TO BRONZEVILLE as part of its new play development initiative, The Wisconsin Cycle . She is founding associate artistic director of the Bronzeville Arts Ensemble and co-directs the drama ministry at Calvary Baptist Church . Sheri is mar-ried to Don Pannell, a retired firefighter/paramedic and is proud of their son, Don, who serves in the Navy .

ABOUT THE PLAYWRIGHT: SHERI WILLIAMS PANNELL, playwright and director

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1. Discomfort is the Starting Point, Not the End Goal Discussions about big ideas like race, religion and politics necessitate some discomfort . By discomfort, I mean that

people who participate in the discussion have a degree of soul-searching and reassessment about their own percep-tions and biases . For instance, does one person find that their opinions get listened to more readily than those of cer-tain school colleagues? Do they always sit with people of similar interests, or does it go deeper than that? How often do they interact with people that don’t look like them or speak like them? As long as people begin with a clear under-standing that the discussion won’t start off with warm, fuzzy feelings, then the next few steps become easier .

2. Proceed with the Best Intentions The power of positive thinking works even in spaces where controversy arises . Despite our various experiences,

we have to be willing to listen and not react immediately . The person speaking may say things in error, and usually speaks from exposure or lack thereof . We also have to keep in mind that, when we do get a chance to speak, we can’t assume complete ignorance . If someone just doesn’t understand an experience, we have to try our best to explain the experience with as much clarity as possible .

3. Be Honest and Inclusive When it’s your turn to speak up, you should come into the conversation with an understanding that whatever you

say comes from a place of wanting to learn . Not everyone has the same understandings about race . We also have to keep in mind that those most affected negatively by race inevitably do most of the teaching . We shouldn’t take this to mean that they also get to dominate the conversation; if anything, we all need to make sure a true exchange of ideas happens .

4. Facilitation Matters With any discussion, having a good facilitator matters . Let’s be honest: people can get carried away with their opin-

ions . At the center of the discussion, we need to have someone or a collection of people who can set the norms for how the discussion goes . That person does not necessarily require special expertise in matters of race, but they should have a clear sense of how to ask questions, clarify thoughts, rephrase when necessary, and help bring some solutions or understandings to the fore .

5. Solutions Include Confronting Racism Wherever We Can Having conversations is not enough anymore . Plenty of us have attended consortia on racism and other forms of

prejudice, and rarely do the conversations end with some form of resolution or actionable item . In the 21st century, we have to get better at doing the small things that contribute positively to our environments . Things like including more people within our circles, recognizing how we sit during faculty conferences, and addressing how we speak to children who may or may not look like us (and how we teach them to approach others) all go a long way towards deconstructing racism .

Many of the solutions start with us . We can apply some of these tips as needed . While principals should take the lead, sometimes they neither have the tools nor the sense of self to hear these discussions . Some leaders may take personally the fact that a race problem exists in a school, or they might see it as a reflection of the person point-ing out the issue . In other environments, an educator may not see the importance of discussing race because they consider themselves color-blind, despite the fact that research has disproven such an idea . (For an in-depth look at color-blind racism, I recommend Racism Without Racists by Eduardo Bonilla-Silva .)

Let’s sit down and have a conversation instead of looking for reasons not to. In these times, achievement without social justice is an injustice for all.

Taken directly from: Rethinking Conversations on Race Among EducatorsNOVEMBER 30, 2012 Written by: José Vilson

CONVERSATIONS ON RACE Social and Emotional classroom learning

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The story of WELCOME TO BRONZEVILLE is inspired by interviews with elders who lived in Milwaukee’s Bronzeville neighbor-hood during the 1950s . These residents shared their memories with playwright Sheri Williams Pannell’s and include members of her family . She combined these memories with her imagination to create a new story . Stories that have fictitious elements mixed within an historical framework are called historical fiction .

Write your own historical fiction story . Use your own family members or community members as inspiration to write your own piece of historical fiction . Ask your grandparents or other elders in your community to share stories about their experiences grow-ing up in Milwaukee—make sure you record the details of these stories accurately .

I am interviewing:________________________________________________________________________________________________They were born in the year _____________________, and grew up in (location) ___________________________________________ .

Choose one of the following questions below to ask your interviewee. • Did you ever participate in a talent show? What was your talent? • What was your favorite song when you were a child? What made special to you?• What was one special tradition your family did together when you were growing up? Once you’ve gathered

the stories, do some more research on the time period and place their stories occurred .• What was happening in the world at this time?• What was the political and social climate of this time and place? Now, go back to the stories and pick two or

three details that really interest or excite you — this can be a character, an event, or object mentioned in the story…anything! Create a new character based on the features you’ve highlighted .

My character’s name is __________________________________________________________________________________________ . The year is __________________________________and the location is __________________________________________________ .

Three unique qualities about my character include:1 . _____________________________________________________________________________________________________________

2 . ____________________________________________________________________________________________________________

3 . ____________________________________________________________________________________________________________

Two interesting facts about where my character lives are: 1 . ____________________________________________________________________________________________________________

2 . ____________________________________________________________________________________________________________

Two interesting facts about the time period my character lives in are: 1 . ____________________________________________________________________________________________________________

2 . ____________________________________________________________________________________________________________

Use this information as the basis of your Historical Fiction story. Now, write a journal entry from the perspective of your character—this will serve as the beginning of your story!

MILWAUKEE STOR IESA Language Arts Classroom Activity

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ACTIVITY1 . Select five to eight images from magazines or the newspaper that show compassion in action .

Examples: a . Acts of kindness and caring . b . Acts of helping others . c . Acts of empathy . d . Acts of reaching out to others .

2 . Guide a class discussion about what students see in the images, and what all the images have in common .

3 . Continue by engaging students in a discussion about compassion to determine their pre-existing knowledge on the subject .a . Add your own definition to the examples given below:

i . Compassion is an understanding of how another person feels .ii . Compassion is caring about others . iii . Compassion is showing concern through kind thoughts, words and actions . iv . Compassion is helping and giving . v . Compassion is listening and being patient . vi . Compassion is a response to suffering .

4 . Next, ask students: Where do we see compassion in our school? What does it look like? Feel like? Sound like? a . Take two to three suggestions from students . Encourage them to describe acts of compassion in specific

behavior terms . Examples: i . Kids including others who are left out of their game on the playground .ii . The nurse helping a hurt child . iii . The principal making sure that a new student feels welcome . iv . The teacher helping a student at recess who is struggling .

5 . Divide students into groups of three . Give groups 10 minutes to think of an example of “what compassion looks like .” Instruct each group to plan a way to share their example with the class by acting it out, writing a poem, describing it in words, drawing a picture, singing a song, etc .

6 . Have groups share as time allows .

7 . Set aside some space on the bulletin board with the theme of Compassion . Split the bulletin board into three sections: a . What does compassion look like (behaviors)? b . What does compassion sound like (words)? c . What does compassion feel like (emotions)?

8 . Encourage students to continue to add examples to the board . Encourage students to continue to notice acts of compassion and to add them to the class bulletin board .

Taken directly from: http://www.seedsofcompassion.net/why/curriculum/35%20Compassion%20Lessons.pdf

WHAT DOES COMPASSION LOOK L IKE?Social and Emotional Wellbeing Classroom Activity

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WISCONSIN’S GOT TALENT! A Theater Arts Classroom Activity

Our skills and talents enrich our communities and bring us together in joyful celebration. Showcase all of your students’ skills and talents in a talent show. Invite other classrooms,

parents, and even the principal to participate!

1 . First, brainstorm with students ideas for the show through the following discussion . Some students may feel as if they don’t have a talent to share because it is not a performance art like singing or dancing . This is a great way to explore all types of talents, whether it is drawing comics, pitching a ball, making the best peanut butter and jelly sandwich . Encourage them to find something that they like to do (and talk about) and find a way to share it with their classmates .

Philanthropy is the desire to promote the welfare of others through donations of money, property, work or talent . This love and care for humanity is what creates a strong community . In the following activity, students will discover what makes them a necessary part of their classroom community by sharing their skills and talents .

Explain to students that they will be putting together a talent show to highlight all of the unique people that create their community .

In a large group (or smaller groups first), invite students to discuss the following questions: What are you good at? What do you like to do with your free time? What are you interested in? What skill could you share that would help or inform another person?

2 . After making a list of everyone’s interests, skills and talents, delegate the parts of the show based on the skills of the students . For those students that are uninterested in being onstage, find non performing options—putting together the program, being a Stage Manager for the show (taking notes about the show and giving the actors directions during the show), creating a soundtrack for before or during the show, creating backdrops for certain performances, etc . Let the students find their own place in the process, so long as they are an integral part of the piece .

3 . After completing the performance, ask students how their talent or skill could be used to help out someone in their school or community .

RECOMMENDED READING

The Jazz of Our Street by Fatima Shaik (Dial Books for Young Readers, 1998)

If I Only Had a Horn: Young Louis Armstrong by Roxane Orgill (Houghton Mifflin, 1997)

Mysterious Thelonious by Chris Raschka (Orchard Books, 1997)

Hip Cat by Jonathan London (Chronicle Books, 1996)

What a Wonderful World by George David Weiss & Bob Thiele (Simon & Schuster, 1995)

Mama Don’t Allow by Thacher Hurd (HarperCollins, 1985)

I’m Going to Sing: Black American Spirituals by Ashley Bryan (Macmillan, 1982)

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A LIVING BAND A Math Classroom Activity

1 . Share with students that the improvisational form of jazz allowed for freedom of expression and is rooted in the poly-rhythms and syncopation of African music . The compositions allowed the composers to comment on social and politi-cal issues . Following concerts at bigger and private venues, the jazz elite would perform (after hours) in clubs located in Milwaukee’s Bronzeville . Many of Milwaukee’s hotels did not allow people of color to lodge in their establishments . The performances allowed the jazz artists to show their appreciation for the hospitality that was shown them in the homes of Bronzeville’s residents .

2 . Have students listen to Ella Fitzgerald’s version of How High the Moon to introduce jazz and the art of scatting . Scatting is vocal improvisation that is sometimes sounds or nonsense syllables . Ask them to listen for how many sounds they hear playing at the same time and what makes it different than the music they listen to .

3 . Share with students that we are going to better understand jazz through an activity that will allow us to create our own musical experience .

4 . Invite students to create a circle, either in their chairs or sitting on the ground . Start by patting and vocalizing the fol-lowing rhythm on your lap:

a . a . ta ta ti-ti tab . Invite all students to play that rhythm on their laps with you . As you are playing the rhythm, help the stu-

dents recognize there are four beats in this rhythm .c . Go through the rhythm a few times, and then ask students what they noticed about this rhythm: Was the

pitch generally the same or different? What the tempo generally the same or different? Were there still four beats in the rhythm? Did the rhythm generally sound like one big sound or multiple different smaller sounds?

d . Share with students that this sound-on-sound example illustrates how we can make one small sound bigger by multiplying the sound, or stacking the same sound on top of each other .

5 . Next, split students up in the circle, to form groups of four – make sure they are still seated in the large circle format . Instruct students that this time, you will be all playing the same rhythm, but this time, the “body instruments” will be different . Each group will be given a different “body instrument” to play the rhythm with . Encourage groups to add a vocalized syllable (ba, ta, ch, sh, ta…)

a . Feet Stompb . Hand Clapc . Finger Snapd . Hand Brushe . Voice Shushf . Voice Hum

6 . Start by patting the rhythm on your lap . Then, one at a time, invite each group to join in the rhythm, adding their new “body instrument” and vocalized sound to the rhythm . Continue until all groups have joined in and students have an opportunity to hear the rhythm with these added sounds .

a . Ask students what they noticed about the rhythm this time: Was the pitch generally the same or different? What pitches were higher and which were lower? What did this do to the mood or feeling of the rhythm? Were there still four beats in the rhythm? Did the rhythm sound bigger or smaller than the rhythm we cre-ated by all making the same sound?

b . Share with students that this example illustrates how we can change the pitch of a sound to make it seem like there are different instruments playing the same rhythm…and this makes the sound appear even bigger .

c . How does the vocalized sound add to the sound?

Adapted from First Stage’s Teaching Through Theater Program, Les Paul- The Wizard of Waukesha

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SERVICE AND COMMUNIT YA Math Classroom Activity

We make a living by what we get, but we make a life by what we give. -Sir Winston Churchill

Charity is not only about giving money or things to help people in need . Giving your time is worthwhile and valuable . Minimum wage is the set value to which workers must be paid . Solve the problems below to find the value to community service .

The Minimum Wage in Wisconsin is $7.25

1 . Breanna loves to read . She reads with some of the younger kids in her neighborhood and helps them as they read to her . On Thursday she reads with them for 1 hour, Friday for 2 hours and over the weekend for 4 hours . What is the dollar value to her service?

2 . Justin loves sports and plays on his high school football team . Every summer, he volunteers at a football camp for kids that are training to be on the team . The camp runs from 8:00am-4:00pm Monday through Friday . How much is Justin’s time worth for the week he is helping at football camp?

3 . Tiana is an excellent artist . She wanted to create a mural at her community center that depicted many of the elders in her community . If Tiana were paid for the work that she did on the mural, she would have earned $145 . How many hours did she spend on the mural?

4 . Clare is a teenager really good at taking care of younger kids . She offers to help out her neighbor by playing with her 5 year old son while she makes dinner . She does it for a half hour Monday, an hour on Tuesday and an hour on Friday . What is the monetary value of her time?

Adapted from http://www.learningtogive.org/units/roots-philanthropy-elementary/time-equals-treasure

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10 Simple service activities for kids of all ages: People often think that charity work needs to be a large gesture or be prepared in advance . Charitable acts start in your neighborhood and can involve helping a family member, friend or neighbor in times of emotional hardship or illness . Set a goal and make a plan for you and your family to give back!

YOUNGER KIDS • Decorate reusable grocery bags and fill them with their favorite non-perishable food items . Visit our local

Feeding America website at www .feedingamericawi .org for volunteer opportunities .• Box up their gently used clothing to donate to your local family shelter, refugee center or charity thrift store .

OLDER KIDS • Make a personal connection . Pro social behaviors- voluntary acts that are aimed at benefitting others- lead to

long-term happiness and have a greater impact than we may think . Help someone carry something they may be struggling with or make a personal connection with someone you tend to usually pass by, like the crossing guard or the people in the cafeteria . Ask them what their favorite food is or what they are planning to do for the upcoming school vacation .

• Donate their gently used books and toys to a local children’s hospital .• Make holiday decorations and cards and then sing carols for nursing home residents . Call ahead to schedule a visit .• Rake leaves or shovel for an elderly neighbor .• Collect used towels and pet toys for the local animal shelter .• Host a hot chocolate or cider stand and donate the proceeds to a local charity .• Adopt a family for the holidays through a local business or faith group, and have your kids help shop for that family .

MAKING IT A HABITVolunteering as a family while kids are young develops a positive service habit that sticks long into adulthood . Use the following four tips to help ensure your kids understand the impact of their good deeds .

• Celebrate your service!• If donating goods or money to a local charity, deliver the items with your kids in person so they can better

internalize how they helped make a difference .• Be sure to talk about your family’s service experience . Discuss what you did, why you did it, how it felt, and

what you learned .• Plan your service projects in advance . Decide on a schedule (monthly, seasonally) that works for your family .

GIV ING BACK A Service Activity for Families or Classrooms

Adapted from: http://www.pointsoflight.org/blog/2013/03/26/10-kid-friendly-volunteer-service-projects

13

WHO SAID IT?

POST-SHOW QUESTIONS

1 . “I’m big and I’m bad, but I’m fair…”

2 . “Your father is my friend…a hardworking man and a deacon . To think you’re on the list to be one of Calvary’s junior deacons . I never would’ve thought you’d…”

3 . “…Where it says name, be sure to write The Walnut Street Troubadours . It was my idea .”

4 . “Why I---- Trespassing and stealing . You break any other commandments?”

5 . “How am I supposed to sleep with a juvenile delinquent under my roof?”

6 . “Awww, Mama, I don’t wanna be playing around with a bunch of lil’ kids .

7 . “Wait a minute… We don’t allow smoking, drinking, or pets in our home .”

8 . “I do not want my children to be limited in their choices . There’s nothing wrong with them singing in this contest . Now, sign this paper .”

9 . “I want to be a famous singer like Billie Holiday or little Gladys Knight on the Ted Mack Amateur Hour .”

10 . “Hey Deacon’s Boy”

11 . “I love seeing a child that is allowed to be just that, a child . I didn’t have a childhood filled with playtime, dolls, and a doting mama and daddy . I started working at six years of age . Scrubbin’ floors . . .”

12 . “I may not be welcome at Hotel Pfister, but I cannot imagine it could be any more beautiful .”

13 . “See . That’s what I mean . I can’t say anything, can’t do anything right . I see you hugging Debbie, tellin’ her how she’s your “Butterfly,” and callin’ her “Peter Pan .” You always telling her how proud you are of her and how much you love her . You act like she’s perfect . All you ever do is fuss at me, even when I do somethin’ good .”

14 . “…I don’t work hard because that’s expected or required to live a decent life . I work hard because it’s what I know . It’s what my daddy did to take care of his family and it’s the right thing to do .”

15 . “Man that is boss . KING Boss”

16 . “…I know I can be hard on you . It’s just you have so many more opportunities than I had at your age . You know Dr . Battle has recommended you to be a Junior Deacon and my foreman says when you graduate you can join me at A .O . Smith .”

17 . “That’s a good dream, son . I believe you’ll make it .” .

1 . The deacon, Michael Sr ., is very strict when it comes to his family living out their beliefs and values in everything they do . What values and beliefs do your family have and expect everyone to live by?

2 . Bullying has two sides . There is the victim, the person being bullied, and the aggressor, the person doing the bul-lying . In Bronzeville, the Market Street Boys were the aggressors to Mike Jr . Why do you think they made such a big deal about him being the deacons’ son? How did their bullying effect Mike Jr .?

3 . Billie Holiday was a famous guest in the DuBois family home for the weekend . During her stay she was able to share a little wisdom with both Michaels in their time of difficulties . Is there someone outside of your family who sometimes help resolve issues your family may have? If so, how does this person help?

4 . Michael Sr . is a busy man . He works hard to provide for his family and he is a deacon in the church . For Mike Jr . this is difficult because he wants to spend more time with his dad . What do you think helped Mike Jr . decided to follow his dreams? How did sharing his feelings and dream job with his dad change their relationship?

14

WHO SAID IT? ANSWERS

1 . “I’m big and I’m bad, but I’m fair…” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SGT . CHANEY

2 . “Your father is my friend…a hardworking man and a deacon . To think you’re on the list to be one of Calvary’s junior deacons . I never would’ve thought you’d…” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SGT . CHANEY

3 . “…Where it says name, be sure to write The Walnut Street Troubadours . It was my idea .” . . . . . . . . . . . . . DEBBIE

4 . “Why I---- Trespassing and stealing . You break any other commandments?” . . . . . . . . . . . . . . . . . . . . . MICHAEL

5 . “How am I supposed to sleep with a juvenile delinquent under my roof?” . . . . . . . . . . . . . . . . . . . . . . . MICHAEL

6 . “Awww, Mama, I don’t wanna be playing around with a bunch of lil’ kids . . . . . . . . . . . . . . . . . . . . . . . . . . . MIKE

7 . “Wait a minute… We don’t allow smoking, drinking, or pets in our home .” . . . . . . . . . . . . . . . . . . . . . . . . .IRENE

8 . “I do not want my children to be limited in their choices . There’s nothing wrong with them singing in this contest . Now, sign this paper .” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .IRENE

9 . “I want to be a famous singer like Billie Holiday or little Gladys Knight on the Ted Mack Amateur Hour .” . . . . DEBBIE

10 . “Hey Deacon’s Boy” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARKET STREET BOYS

11 . “I love seeing a child that is allowed to be just that, a child . I didn’t have a childhood filled with playtime, dolls, and a doting mama and daddy . I started working at six years of age . Scrubbin’ floors . . .” . . . . . . . . . . . . BILLIE HOLIDAY

12 . “I may not be welcome at Hotel Pfister, but I cannot imagine it could be any more beautiful .” . . . . . BILLIE HOLIDAY

13 . “See . That’s what I mean . I can’t say anything, can’t do anything right . I see you hugging Debbie, tellin’ her how she’s your “Butterfly,” and callin’ her “Peter Pan .” You always telling her how proud you are of her and how much you love her . You act like she’s perfect . All you ever do is fuss at me, even when I do somethin’ good .” . . . . . . . . . . . . . . . MIKE

14 . “…I don’t work hard because that’s expected or required to live a decent life . I work hard because it’s what I know . It’s what my daddy did to take care of his family and it’s the right thing to do .” . . . . . . . . . . . . . . . . . . . . . . MICHAEL

15 . “Man that is boss . KING Boss” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARKET STREET BOYS

16 . “…I know I can be hard on you . It’s just you have so many more opportunities than I had at your age . You know Dr . Battle has recommended you to be a Junior Deacon and my foreman says when you graduate you can join me at A .O . Smith .” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MICHAEL SR .

17 . “That’s a good dream, son . I believe you’ll make it .” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MICHAEL SR .