Lessons Taught, Lessons Learned Vol. I
ALASKANS EXPERIENCE JAPANESE
CULTURE THROUGH MUSIC
by
Rosemary Branham
Kenai
"I Hear America
Singing"
I hear America
singing, the varied carols I hear.
Those of mechanics, each one singing his as it should be blithe
and strong.
The carpenter singing his as he measures his plank or beam,
The mason singing his as he makes ready for work, or leaves off
work,
The boatman singing what belongs to him on his boat, the
deckhand singing on the steamboat deck,
The shoemaker singing as he sits on his bench, the hatter
singing as he stands,
The wood-cutter's song, the ploughboy's on his way in the
morning, or at noon intermissions or at sundown,
The delicious singing of the mother, or of the young wife at
work, or of the girl sewing or washing,
Each singing what belongs to him or her and to none else,
The day what belongs to the day-at night the party of young
fellows, robust, friendly, Singing with open mouths their
strong melodious songs.
from Walt Whitman's
"Leaves of Grass"
Walt Whitman's well-known poem
establishes a rationale for my unit on Japanese music. Whitman
proclaims that all men and women sing their own songs, but I don't
think that the poet's words should be interpreted to mean that
these are only "Americans" singing. There are Japanese farmers,
fishermen, carpenters and other laboring people who are also
singing. How could we better increase our understanding and
appreciation of the Japanese culture as well as our own Alaskan
culture than through music?
My ideas for this unit "Alaskans
Experience Japanese Culture Through Music" have been informed by a
workshop during the Rural Alaska Instructional Improvement Academy
entitled "Education in Japan-Lessons and Connections for Alaska",
and by a personal interest in Japan which I developed after
communicating with my school's sister school in Toyoura, Hokkaido,
during the 1986-87 school year.
While teaching students the unique
language and system of symbols that form music theory, we also
explore ethnic music from around the world. In this paper, I will
describe a unit on Japanese
music that incorporates singing, playing instruments, dancing, and
performing musical drama and puppetry. While fitting into the
music curriculum, the unit also integrates easily into such
academic disciplines as language arts, art, geography, social
studies, and science.
This unit helps bridge the
cultural gap between the U.S. and Japan, thus eliminating myths
and fallacies in the countries' perception of each other. In
accordance with the recent awareness of economic, political, and
military interdependences between the Pacific Basin countries,
which include the U.S. and Japan, this music unit is intended to
help promote the Association of Southeast Asian Nations (ASEAN)
suggestion that "the Pacific Ocean is a zone of peace, freedom and
neutrality." I would like the unit to familiarize our students
with the Japanese culture and help them to make international
friends.
On the following pages, I will
describe which content I will include in the music unit, what
methods of instruction I will use, and how I will determine what
was learned. Resource suggestions are also included.
My unit, "Alaskans Experience
Japanese Culture Through Music" fits into the K-6 elementary music
curriculum. The curriculum guide for elementary music by the Kenai
Peninsula Borough School District states, "one purpose of
education is to challenge a person's
mental, physical, and emotional capacities to grow." Through this
unit, students will be exposed to many facets of Japanese culture
that will challenge them to learn a foreign language, communicate
with Japanese students, and in general, gain insight into a people
and culture different from their own.
I use the term "culture" as a
general term for such areas as customs, education or the arts, the
latter of which can be segmented into religion, fine arts, and
music. It is difficult to generalize when talking about Japanese
culture because it is a product of the cultural heritage of the
Orient, as indicated by Tazawa, et al. (1985) in the following
description of the development of Japanese culture:
"The distinctive Japanese
culture we have today is the result of encounters between
traditional Japanese cultures and foreign cultures
through which the latter were imported, absorbed and
harmoniously blended. Rather than rejecting alien cultures, the
Japanese have chosen to fit them into their own
aesthetic framework, often
quite creatively adapting them to Japanese needs."
In order to understand
contemporary Japan and its culture, one must study the process by
which the ancestors of today's Japanese "Japanized" foreign
cultures. The musical development of Japan owes much to the music
of China and Korea. Within this cultural frame, Japanese music is,
nevertheless, unique.
In the history of Japanese music,
vocal music generally played a more important role than
instrumental music. Some traditional music developed as part of
such drama genres as Noh and Kyogen, Kabuki, and Bunraku. Noh,
with 600 years of history, is Japan's classic theater art of
extreme refinement and symbolism. The Kyogen is a theater genre of
mainly mime farce, and is often inserted as an intermission piece
between two Noh plays. Kabuki, another of Japan's theatrical arts,
was cultivated primarily by the merchants. It's inception goes
back to the latter part of the 16th century. The Japanese puppet
show, known as Banraku, is a precious folkloristic cultural
heritage in which the Japanese take great pride. Most folk songs,
called "min-yo", were
originally associated with religious events or daily labor, such
as fishing, farming, and packhorse driving. However, now as
lifestyles have changed, folk songs are often sung for
recreation.
Gagaku, or "elegant music" refers
to classical dance, song, and instrumental music as they were
performed in a court among the powerful nobility and upper
classes. Today there are three types of Gagaku: ancient dances and
music of pure Japanese origin, compositions imported from various
parts of Asia, and Japanese creations composed after foreign
styles. These adaptations of foreign patterns are recognized as a
truly classical art form after they have been modified to suit the
tastes of the Japanese people.
Do-yo are Japanese children's
songs. They are distinguished from folk songs and divided
into traditional and modern.
They include lullabies, or komori-uta and festival songs,
gosekku. Traditional songs
include themes like rope-skipping, kite flying and playing
hide-and-seek. Today's poets
and composers are creating songs that express children's feelings
more directly.
My unit presents two types of
traditional Japanese music: art music and folk music. Art music
has several different styles that have been maintained and
modified over time. In addition to exposing students to various
forms of Japanese music, the unit also includes lessons about
Japanese instruments, or sankyoku. The primitive recorder was
modified to become the shakuhachi, a bamboo flute. The zither
bacame the koto, having 13 strings. The shamisen is a
three-stringed balalaika-type guitar, played with a large
plectrum. Additional traditional instruments include the fue, a
smaller flute; the biwa, a lyre with four strings; and tsuzumi and
taiko, small and large hand drums. Japanese music is also
accompanied with hand-clapping, beating sticks on barrels and
bells. This unit on Japanese music also includes language arts
lessons on examples of Japanese poetry, Haiku, which students will
read and write. The students will have the opportunity to compose
music in the style of the Orient to go with their Haiku. A
Japanese fairy tale will be dramatized and videotaped using
appropriate instrumental accompaniment.
In another lesson the students
will correspond with their sister school. They will write about
their music class in Alaska and ask Japanese students questions
about their music classes in Japan. Students might also share
information about their musical interests outside of school, for
example, their favorite pop tunes, favorite performers or groups,
etc. In an art lesson the students will view and discuss examples
of paintings and prints by Japanese artists as they relate in
theme to musical compositions.
Students will learn about world
renowned Japanese conductor Seiji Ozawa and violinist Shinichi
Suzuki. As this subject matter will integrate into a social
studies lesson, so will discussions of other past and present
occupations of Japanese people. Furthermore, the unit will also
include material from the curricula for geography and science. For
example, students will be reading maps and discussing particular
plant and animal species native to Japan.
In their article, "Weaving
Curriculum Webs," Corwin, Hem, and Levin (see
this publication) describe
an informal or "open education" approach to study. This unit
represents such an approach, because it can be implemented at any
time during the year in no "predetermined order." However, I would
like to introduce the unit during the first quarter of the school
year to stimulate school-wide interest in our sister school. The
unit doesn't necessarily have to be presented in its entirety.
Exploring Japanese music can take place over a period of weeks or
months, as the "open education" approach suggests.
Like Corwin, et al., I believe
that "individual children learn in a variety of ways, with
different children learning different things from the same
experience." My unit supports individual learning styles through
individual as well as small- and whole-group activities. Small-
and whole-group activities include performing songs accompanied by
instrument ensembles, dancing folk dances, performing singing
games and puppet shows, and producing a video from a Japanese
fairy tale. Lessons for individuals involve writing Haiku poetry
and composing the music for it, writing letters (using the
computer word processor), and making puppets for a
show.
Lessons will incorporate
many types of media ranging from print to video tapes. Guest
musicians will bc invited to present material in their specialty
area. Lessons are planned to include all learning modes.
I believe that through this unit,
the students will "learn through interaction with the world," the
international language of music as the medium of interaction.
Students will contact students in Japan via the mail.
In their curriculum, "The Axe
Handle Academy," Scollon and Scollon (see
this publication) ask
parents and teachers "What is an appropriate education for our
children? How can we prepare them for a world that is unknown to
all of us?" In response to these questions, the Scollons propose a
curriculum that includes the following three components:
bioregional, cultural, and communication studies. My unit of study
can be integrated into each of these three components.
Within the bioregional component,
students will compare and contrast language, school and community
activities, and communicate about Native Alaskan music, and
national anthems. Within the cultural component students will
identify, compare, and contrast Alaskan, American, and Japanese
musical styles and selections of historic and modern
music.
I agree with the Scollons that "communication is at the heart of nearly all our activities." The
young musicians involved with this unit will develop their
communication skills through class discussions,
writing and video projects, and telecommunications. Students will
have many opportunities to use their communication skills by
listening, observing, and reflecting.
This music unit will "increase
cultural contact" and give students the opportunity to think
"comparatively about culture," as suggested in the "Axe Handle
Academy." Students in Alaska and in Japan will compare music
lessons, songs, instruments, dances and performing groups. They
will also compare music associated with holidays and share musical
interests. The unit will allow students to "bridge the Pacific"
and reduce the size of our planet through mutual study of
cultures. The Scollons suggest, "the best teachers carry on their
learning in the company and dialogue with their students." As
Confucius practiced this, so will the those who implement this
unit.
While researching the materials
for this unit, I have become increasingly motivated motivating my
students toward more active learning. It is my goal to try and
merge our efforts as a "collaborative learning team" traveling to
Japan together. What an achievement it would be if we were touring
Japan with a group of young musicians, giving concerts, meeting
the Japanese, and seeing the sights of their country! Such a trip
would lend itself to future cultural exchanges between our
community and the community of our sister school. Promoting and
implementing such an exchange program will certainly provide goals
for students to strive for. Community support and involvement
would be essential to achieving our goal. Undeniably, the entire
school would become involved in the exchange program since our
students traveling to Japan would represent our school as well as
our state and country.
I hope my excitement about
implementing this unit is contagious. I am ready! I would like to
motivate my colleagues to pursue a unit on Japan in their
classrooms. The possibilities for school-wide units integrating
Japanese culture are unlimited. Hopefully, our schools will
exchange instruments native to our cultures, especially a koto or
shamisen.
I anticipate celebrating a few of
the Japanese national holidays throughout the school year. For
example, Children's Day, May 5th; or Culture Day, November 3rd; or
the holiday commemorating the founding of the nation on February
11th. "Japan Week" would be another program which perhaps our
sister school could reciprocate with by establishing "Alaska
Week". Projects such as these would need to be coordinated by a
committee of volunteer parents and staff members.
There are various other
possibilities for involving the community in our exploration of
Japanese culture. Should a Japanese delegation visit our
community, it would seem appropriate to house our guests with host
families. Perhaps a special community event, such as a picnic
could be organized. In case a delegation of students or community
members would want to travel to Japan, fund-raising would become a
major project, involving the entire school and the
community.
I have planned this unit with a
project-centered approach because the varied learning tasks
included in a project can be easily integrated with the academic,
subject-oriented learning in school and with the experience-based,
process-oriented learning in the community. Therefore, I believe
that this music project will meet the needs of the students and
community.
Local music educators of the Kenai
Peninsula Borough School District have established the following
goals for preparing students to participate in and contribute to
informed musical expressions: The student will (1) have
experienced a sense of accomplishment and enjoyment:
(2) be able to sing and/or use
musical instruments to satisfy personal needs and standards; (3)
internalize the emotional importance of music, becoming aware of
his own unique imagination, emotion
and energy; (4) be able to make value judgments about all types of
music performed or listened to, in terms of appropriate standards;
(5) have the ability to create, comprehend and respond to a
variety of musical expressions (Kenai Peninsula Borough School
District, 1984, p. iii).. These goals have informed the
development of this music unit. The specific objectives of the
unit have been devised from learning theory and the general goal
of developing in the students the skills that will help them to
better understand the aesthetics of music.
To determine what the students
have learned I will use informal evaluations through observations,
inventories, teacher-made tests, and general subjective
evaluations. Collecting, organizing, analyzing, and reporting
these data will be the essence of these evaluations.
A detailed list of print, audio
and map references for this unit follows in Appendix A. In
addition, you may want to inquire locally about Japanese/American
citizens who could be guest presentors in your class; or perhaps a
church or family has visitors from the Orient who would visit your
classroom. The Consulate General of Japan, 909 W. 9th Avenue,
Suite 301, Anchorage, Alaska 99501, (907) 279-8428, is a marvelous
source for a variety of publications and educational services,
including films. The Korean Consulate General, 101 Benson Blvd.,
Suite 304, Anchorage, AK 99503, (907) 561-5488, and the Embassy of
China, 2300 Conneticut Avenue Northwest, Washington, D.C. 20008,
(202) 328-2520, are other resources.
Annie Calkins from the Alaska
Department of Education, P.O. Box F, Juneau, Alaska 99811-0500,
(907) 465-2841 is the coordinator of the sister school program.
Dr. William Parrett, Chair, Dept. of Education, Univ. of Alaska
Fairbanks, Fairbanks, AK, 99775, (907) 474-6187 is also involved
with sister schools. An excellent resource person on the Pacific
Rim countries is Douglas Phillips, Social Studies Program
Coordinator for the Anchorage School District, 4600 DeBarr Avenue,
P.O. Box 196614, Anchorage, Alaska 995 19-6614.
As our school nurtures the
relationship with its sister school through the music curriculum,
it is my wish that other Alaskans will become involved in the "Network" and implement cultural and "people-to-people" exchanges
with our Pacific Rim neighbors.
Ahhh, I will soon hear Alaskans
singing!!
References
Alaska Sister Schools
Exchange Network. (1987). Juneau, Alaska: Alaska Department of
Educaiton.
Leach, M. & Fried, J. (Eds.).
(1972). Funk and Wagnalls standard dictionary of folklore,
mythology, and legend. San Francisco: Harper & Row.
Kenai Peninsula Borough School
District Elementary Music Curriculum Guide. (1984). Soldotna,
AK: Kenai Borough School District.
Tazawa, Y., Matsubara S., Okuda,
S. & Nagahata, Y. (1985). Japan's cultural history: A
perspective. Japan: Ministry of Foreign Affairs.
Warnick, E. M. (1985, April).
Overcoming measurement and evaluation phobia." Music Educators
Journal, pp. 33-40.
Foreword
J. Kelly Tonsmiere
Introduction
Ray Barnhardt
Section
I
Some Thoughts on Village
Schooling
"Appropriate
Schools in Rural Alaska"
Todd Bergman, New Stuyahok
"Learning
Through Experience"
Judy Hoeldt, Kaltag
"The
Medium Is The Message For Village
Schools"
Steve Byrd, Wainwright
"Multiple
Intelligences: A Community Learning
Campaign"
Raymond Stein, Sitka
"Obstacles
To A Community-Based Curriculum"
Jim Vait, Eek
"Building
the Dream House"
Mary Moses-Marks, McGrath
"Community
Participation in Rural Education"
George Olana, Shishmaref
"Secondary
Education in Rural Alaska"
Pennee Reinhart, Kiana
"Reflections
on Teaching in the Kuskokwim Delta"
Christine Anderson, Kasigluk
"Some
Thoughts on Curriculum"
Marilyn Harmon, Kotzebue
Section
II
Some Suggestions for the
Curriculum
"Rabbit
Snaring and Language Arts"
Judy Hoeldt, Kaltag
"A Senior
Research Project for Rural High Schools"
Dave Ringle, St. Mary's
"Curriculum
Projects for the Pacific Region,"
Roberta Hogue Davis, College
"Resources
for Exploring Japan's Cultural Heritage"
Raymond Stein, Sitka
"Alaskans
Experience Japanese Culture Through
Music"
Rosemary Branham, Kenai
Section
III
Some Alternative
Perspectives
"The
Axe Handle Academy: A Proposal for a Bioregional, Thematic
Humanities Education"
Ron and Suzanne Scollon
"Culture,
Community and the Curriculum"
Ray Barnhardt
"The
Development of an Integrated Bilingual and Cross-Cultural
Curriculum in an Arctic School District"
Helen Roberts
"Weaving
Curriculum Webs: The Structure of Nonlinear
Curriculum"
Rebecca Corwin, George E. Hem and Diane Levin
Artists'
Credits
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