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AFRICAN AND AFRICAN-AMERICAN FOLKTALES
Video Cassette, PEM, 20 min, RAIN, 1993
Three captivating tales, each approximately five minutes in length, provide insight into African and African-American culture. The trilogy contains an explanatory tale, HOW ANANSI OBTAINED THE SKY GOD'S STORIES - a whimsical and humorous West African story, TALK and DOC RABBIT AND BRUH FOX BUILD A HOUSE, an example of the more than 300 beloved and culturally significant African-American "Brer Rabbit" tales.
1 AFRICAN AMERICANS 2 FOLKTALES Video Cassette VC-2895

WEB/MAX RESOURCES - (Available through) Instructional Technology Services

AFRICAN STORY JOURNEY: ACROSS TIME AND PLACE
Video Cassette, KPEMJS, 20 min, CHURCH, 1992
Four stories in the rich African tradition, collected in the Caribbean, American South, and Harlem in the 1930's. Stories include: WHY THE SKY IS FAR AWAY (West African); BRER GOAT AND BRER LION (Caribbean); WHEN PEOPLE COULD FLY (African-American) and THANK YOU MA'AM (Langston Hughes, 1934).
1 AFRICAN LITERATURE (ENGLISH) 2 STORYTELLING-COLLECTIONS 3 SHORT STORIES 4 LITERATURE Video Cassette VC-1534

DIDN'T WE RAMBLE ON
Video Cassette, MJS, 92 min, FILMA, 1992
VHS VIDEO - This program shows how the spirit and soul of the West African people has been passed down, generation to generation, through the black marching band. In modern times, the tradition continues on the football fields of America. Dizzy Gillespie introduces us to the skillfully orchestrated maneuvers of the Florida A & M Marching Band.
1 AFRICAN AMERICAN MUSIC 2 BAND MUSIC Video Cassette VC-1382

FAMILY ACROSS THE SEA
Video Cassette, S, 56 min, CANWRL, 1991
FAMILY ACROSS THE SEA documents the moving reunion of Gullah representatives with the West African brothers and sisters they hadn't realized they had. Their heart-wrenching pilgrimage to the slave trading post from which their ancestors left Africa, contrasts with their joy at discovering people, language and dances so familiar.
1 AFRICA 2 BLACK AMERICANS 3 SLAVERY Video Cassette VC-902

TALES FROM THE LAND OF GULLAH FOR KIDS
Video Cassette, ALL, 44 min, VHS, MATRIX, 99
Anita Singleton-Prather returns as Aunt Pearlie-sue; her most popular and beloved character. She is surrounded by 50 children singing along and interacting as she tells the Gullah (West African) versions of popular nursery rhymes, fables and fairy tales.
1 AFRICAN CULTURE 2 BLACK HISTORY Video Cassette VC-3166

HOLIDAYS FOR CHILDREN: KWANZAA
Video Cassette, KPE, 25 min, VHS, SVP, 1994
Through the rhythmic sounds of traditional West-African drums and a look into the colorful significance of the clothes and candles, viewers are introduced to the African American family celebration of Kwanzaa.
1 HOLIDAYS Video Cassette VC-3256
GULLAH TALES
Video Cassette, EMJ, 30 min, DIRECT, 1987
VHS VIDEO - A delightful introduction to the origins of Gullah, one of America's most fascinating subcultures and dialects. Set in the rural South on a Sea Island plantation around 183O, the tale is spun by an old slave storyteller who entertains plantation children with folktales. Gullah folklore is best known around the world through the 19th century writing by Joel Chandler Harris of the Uncle Remus stories.
1 SPEECH 2 LANGUAGE ARTS 3 MINORITIES 4 SLAVERY 5 SOUTH CAROLINA 6 S.C. HISTORY 7 STORIES Video Cassette VC-547
PORTRAIT OF AMERICA: SOUTH CAROLINA
Video Cassette, MJS, 60 min, TBS, 1988
Charleston and its history, prosperity, beauty and new construction are covered. This program also discusses the descendants of former slaves going to college and finding success through education. The effects of the American Revolution are discussed. Pressure to develop the barrier islands, crab fishing and the textile industry - how it has changed and how it has remained the same - is included. Acceptance of individual and racial difference is covered.
1 SLAVERY 2 SOUTH CAROLINA 3 MUSIC AND MUSICIANS 4 U.S. HISTORY - REVOLUTION Video Cassette VC-1164

TALES FROM THE LAND OF GULLAH
Video Cassette, ALL, 60 min, VHS, MATRIX, 99
"Gullah is the genesis of the African-American culture and Beaufort, South Carolina is its home. Three out of four slaves came to America through the sea islands of South Carolina and these stories allow an insight into the history of our people" says master storyteller, educator and actress ( Forrest Gump, God's Gonna Trouble the Water) Anita Singleton-Prather.
1 AFRICAN CULTURE 2 BLACK HISTORY Video Cassette VC-3165

AMAZING GRACE: THE STORY OF A SONG THAT MAKES A DIFFERENCE
Video Cassette, MJS, 80 min, VHS, FFH, 2001
One of the most popular and enduring hymns in the English language, its lyrics were written in the 18th century by the captain of an English slave ship. In the 19th century, the song successfully crossed the Atlantic, as Southern masters and slaves adopted the hymn as their own. Science then, " Amazing Grace" has been adapted by scores of performers for a plethora of styles, from country music to gospel to folk.
1 MUSIC Video Cassette VC-3684

AFRICAN-AMERICAN/BLACK HISTORY MAP RAP
Video Cassette, MJS, 20 min, CHIP, 1994
Set to an original rap-music score, Howard Shelf II and Phil Garcia present an historical tribute to famous African-Americans; then, follow it up with a challenging quiz.
1 AFRICAN AMERICANS-BIOGRAPHY 2 AFRICAN AMERICAN STUDIES 3 BLACK AMERICANS Video Cassette VC-2070

AFRICAN CULTURE: DRUMMING AND DANCE
Video Cassette, EM, 21 min, VHS, AIMS, 2000
This video is an introduction into the artistically rich African culture through dance, music, songs and clothing. Students participate in an exciting performance that blends Eastern and Western Cultures. Margo dances the welcome dance "Fanga", while rhythms are played by David and Tony. Explanation and verbal welcome are given while common words are spoken and taught to the audience and hand games are played. Students are then invited on stage to participate in a joyous rendition of an African counting song called Kye Kye Kule-a call and response Simon-says type song.
1 SOCIAL STUDIES 2 MUSIC Video Cassette VC-3701

AMERICAN HISTORY FOR CHILDREN: AFRICAN AMERICAN LIFE
Video Cassette, KPE, 25 min, VHS, SVP, 1996
This video invites children to learn about America's history through the use of large, brightly colored graphics and animations; charming live- action portrayal of historic figures, and engaging stories told from a child's point of view. Sing-along songs with on-screen lyrics and up-beat music also add to the excitement of this program.
1 AMERICAN HISTORY Video Cassette VC-3220 (2 copies)

THE BRASS FAMILY
Video Cassette, PEM, 20 min, VHS, DISNEY, 98
In this video exploration of the brass family, students will learn about the tuba, trombone, French horn, and trumpet. They will be introduced to composer John Philip Sousa; Louis Armstrong, one of the first great jazz musicians; and jazz trumpter Dizzy Gillespie. They will also discover the many venues that depend upon the brass family, including ceremonial music, marches, fanfares, jazz and classical music.
1 MUSIC AND MUSICIANS 2 MUSICAL INSTRUMENTS 3 ART 4 MUSIC Video Cassette VC-3018
THE CIVIL RIGHTS RAP
Video Cassette, MJS, 6 min, CAROUS, 1994
Using contemporary rap music, this video covers important landmark cases and events 1954's Brown vs. Board of Education of Topeka, Kansas, Rosa Park' s 1955 fight against the Jim Crow Laws of Alabama, the Sit-in Movement of the 1960's and the 1963 March on Washington in a modern, up-to-date way.
1 CIVIL RIGHTS Video Cassette VC-2435
GOT TO TELL IT: A TRIBUTE TO MAHALIA JACKSON
Video Cassette, MJS, 33 min, BFA, 1991
VHS VIDEO - A portrait of the late Mahalia Jackson, queen of the gospels, who spread the religious music of American blacks from congregations in small churches to vast audiences throughout the world, until her death in 1972.
1 BLACK AMERICANS 2 WOMEN 3 MUSIC AND MUSICIANS Video Cassette VC-1263

GUTS, GUMPTION AND GO-AHEAD
Video Cassette, MJS, 24 min, MEDIAI, 1993
The personal history of an extraordinary African American woman is told in her own words and illustrated with archival footage, stills and music. Actress Irma Hall portrays Annie Mae in a video that weaves a tale of intimate experiences with recollections of Annie Mae's grandmother and mother. Dramatically recounting memories from slavery to contemporary times, the story is both harsh and poignant, full of a rare spirit and joy and rich with the daily life experiences of black women. It is the story of the strengths, contributions and heartaches of one woman who can teach everyone a lesson about independence.
1 BLACKS 2 AFRICAN AMERICANS Video Cassette VC-1928
KUUMBA: SIMON'S NEW SOUND
Video Cassette, KPE, 8 min, JOURNA, 1983
VHS VIDEO - Simon, a young boy who lives in Trinidad is trying to create a new musical instrument to celebrate during Carnival. He is looking for something different - a special sound - and time is running out. When he takes shelter from a sudden downpour, he hears the sounds of the rain beating on an old oil drum in the yard. That's it! He discovers that the small dents make high notes and the big dents make low notes and he works on the drum all night. His family are delighted when they hear it and help outfit him with carved sticks to beat the drum, straps to carry it, and a splendid costume.
1 MUSIC APPRECIATION 2 MUSICAL INSTRUMENTS 3 STORIES Video Cassette VC-1241

MUSIC OF THE CARIBBEAN
Video Cassette, EMJ, 24 min, VHS, AIMS, 2000
The music of the Caribbean is popular around the world because of its unique, fun sound. A band comprised of steel drums and conga drums demonstrates how they can play different types of music including, blues, jazz, reggae, African and even rock and roll. Students from a live audience are brought on stage to learn to play the various instruments, which culminate in a lively song and conga dance. The band plays popular songs such as "Mary Ann", "The Lion Sleeps Tonight", "La Bamba" "Shake, Shake, Shake, Senora" and "The Banana Boat Song."
1 MUSIC Video Cassette VC-3697

READING RAINBOW: ABIYOYO
Kit (multimedia), PEM, 30 min, GPN, 97
Based on a South African lullaby and folk story, ABIYOYO, is a magical story song re-told and sung by Pete Seeger. When a town is threatened by the terrible giant, Abiyoyo, a little boy, and his father come up with a plan to save the townspeople. Music, in its different forms, can be a beautiful way to tell a story. Using an upbeat music-video format, host LeVar Burton reveals some of the ways a story can be told.
1 ENGLISH AS A SECOND LANGUAGE Kit (multimedia) KT-123

THE RHYTHM AND PERCUSSION FAMILY
Video Cassette, PEM, 26 min, VHS, DISNEY, 98
Students will discover the world of rhythm and percussion as they are introduced to the snare drum, brass drum, tom-toms, cymbals, trap set, conga drum, timpani, piano, xylophone and more.
1 MUSICAL INSTRUMENTS 2 ART 3 MUSIC Video Cassette VC-3017

WEBSITES

www.discoversouthcarolina.com/asi/asiafricanamericanculttourism.asp
www.gacoast.com/navigator/quimbys
www.gullahgourmet.com/history
www.angelfire.com/sc/hjstevens/penncenter
www.knowitall.org/gullahmusic
www.plantationsingers.com
www.davidpleasant.com
www.degullahsingers.com
www.pbs.org/wgbh/amex/singers
www.pbs.org/jazz
www.spirtitualsproject.org
www.sc.edu/library/music/csa
www.pbs.org/now/arts/gullah.html
www.pbs.org/now/transcript/transcript_gullah.html
www.pbs.org/now/arts/greenessay.html
www.gacoast.com/navigator/iamsapelo.html
www.angelfire.com/sc/jhstevens/penncenter.html
www.co.beaufort.sc.us/bftlib/gullah2.htm#Recipes
www.cofc.edu/avery/gullah_feature.htm
www.scseagrant.org/library/library

The Hallelujah Singers
http://www.americaslibrary.gov/cgi-bin/page.cgi/es/sc/gullah_1
www.loc.gov/bicentennial/propage/ SC/sc-2_h_spence1.html
http://www.birthcenters.org/storiessongs/hallelujah.shtml
Gullah Heritage
History http://www.islandpacket.com/man/gullah/history.html
Penn Center http://www.islandpacket.com/man/gullah/penncenter.html
The language of the Sea Islands http://www.islandpacket.com/man/gullah/language.html
The Hallelujah Singers http://www.islandpacket.com/man/gullah/singers.html
Gullah Gullah Island http://www.islandpacket.com/man/gullah/gullahgullah.html
Penn Center http://www.penncenter.com/
Gullah language and culture http://www.coastalguide.com/gullah/
The 8th Annual Native Islander Gullah Celebration http://www.gullahcelebration.com/
Gullah Net http://www.knowitall.org/gullahnet/
Gullah Gourmet http://www.gullahgourmet.com/meet.htm
Gullah Festival http://www.loc.gov/bicentennial/propage/SC/sc_s_thurmond8.html
The Gullah Islands http://www.ash.udel.edu/ash/exhibit/gullah/GullahWP.html
What is Gullah? http://www.cofc.edu/avery/pantovic/afua/gullah.html
Gullah Culture http://www.pbs.org/now/arts/gullah.html
Jonathan Green
http://www.usca.edu/aasc/greenjon.htm
http://www.sc.edu/csam/green.html
http://www.octobergallery.com/artists/green.htm
http://www.gallerychuma.com/jgreen_bio.html

DISCUS RESOURCES

Available in SIRS Discoverer (Full-text):
Slave Descendants' Quest: Save Their Dying Culture
Miami Herald (Miami, FL); March 14, 2001; 7K.
Explore the States: South Carolina
America's Story from America's Library (Library of Congress); March 18, 2002; 9K.
Family Influences Shaped Nickelodeon's Boss
Las Vegas Review-Journal & Sun (Las Vegas, NV); Nov. 5, 1995; 6K.
A Learning Link to the California African American Museum
Los Angeles Times (Los Angeles, CA); Feb. 19, 2001; 2K.
Nickelodeon's Latin Teen Hit
Miami Herald (Miami, FL); April 16, 2001; 7K.
A Centennial Celebration of George Gershwin's Birthday
Junior Keynotes ; Spring 1998; 11K.
He's Still 'S Wonderful
Newsday (Long Island, NY); Dec. 1, 1998; 5K.

Available in SIRS Knowledge Source (Full-text):
Gullah: A Sea Islands Legacy
Humanities (National Endowment for the Humanities) March/April 1995; 16K, SIRS Renaissance
Gullah: A Vanishing Culture
Charlotte Observer (Charlotte, NC) Feb. 7, 1993; 25K, SIRS Researcher

Available in InfoTrac-General Reference Center (Full-text):

Gullah: a study of language. (Glossary) Mark Taylor, Dan T. Ouzts.
Reading Improvement Summer 2002 v39 i2 p55(14)

The Gullahs' last stand? (Brief Article) Andrew Curry.
U.S. News & World Report June 18, 2001 p40 Mag.Coll.: 107L0571. Bus.Coll.: 133W1430.

A Founding Father and Gullah culture. (Charles Pinckney and the development of African-American culture) Bernard E. Powers Jr.
National Parks Nov-Dec 1998 v72 n6 p26(4)

Available in What Do I Read Next? (Book Descriptions):

For children: A Net to Catch Time. Sara Harrell Banks and Scott Cook.

For adults: Cut to the Heart. Ava Dianne Day

For young adults: The Bridges of Summer. Brenda Seabrooke

Available in The State Newspaper (Full-text):

September 28, 2003 State, The (Columbia, SC)
S.C. ECONOMY COULD PROFIT FROM GULLAH CULTURE
September 28, 2003 State, The (Columbia, SC)
THE SOUL OF GULLAH
September 28, 2003 State, The (Columbia, SC)
SPEAKING GULLAH: A 'BRANCH OF AFRICA'S TREE'
September 28, 2003 State, The (Columbia, SC)
THE BATTLE OF S.C. 41
September 28, 2003 State, The (Columbia, SC)
'THIS IS HALLOW GROUN' '

October 15, 2002 State, The (Columbia, SC)
UNDERSTANDING GULLAH CULTURE
October 15, 2002 State, The (Columbia, SC)
GULLAH STUDY COULD LEAD TO CULTURAL CENTERS IN S.C.
August 14, 2002 State, The (Columbia, SC)
TURNER FOLLOWING AMERICAN TRADITION
August 4, 2002 State, The (Columbia, SC)
LEGISLATOR, NAACP OFFER TO AID GULLAHS
August 3, 2002 State, The (Columbia, SC)
TED TURNER SUES GULLAH COMMUNITY

BOOKS

Banks, Sara Harrell. A Net to Catch Time New York. Alfred A. Knopf, 1977. A picture book depicting a day in the life of a Gullah family. A Gullah calendar gives Gullah terminology for time of day according to nature and activities. Very useful glossary and author's note. Illustrated by Scott Cook.

Branch, Muriel Miller. The Water Brought Us, the Story of the Gullah-Speaking People New York. Cobblehill Books/Dutton, 1995. Eight chapters on the Sea Islands people's history, culture, impact of wealthy developers, and the future of the Gullah people. Extensive bibliography, index. Mistakenly attributes Laura Towne's birthplace to Philadelphia. Illustrated with photographs by Gabriel Kuperminc and old prints.

English, Karen. Neeny Coming, Neeny Going Bridge Water Paperback, 1996. A picture book about two cousins, one of whom left Daufuskie Island to live on the mainland. When Neeny returns for vacation, her cousin is disappointed to see that she has changed. Illustrated by Scott Cook

Feelings, Tom. The Middle Passage, White Ships, Black Cargo New York. Dial Books, 1995. A collection of textless pen and ink and tempera drawings dramatically depicting the Middle Passage. Autobiographical foreword by Feelings explaining his journey to and difficulty with producing the monograph and its lasting effect on him. Introduction by Dr. John Henrik Clarke. Bibliography and footnotes. Map of the African Diaspora in the Americas.

Gauch, Patricia Lee. Noah New York. Philomel Books, 1994. Biblical story of Noah and his family building and ark, gathering the animals, and weathering the flood. Illustrated by Gullah artist Jonathan Green.

Hamilton, Virginia. Her Stories, African American Folktales, Fairy Tales and True Tales New York. Scholastic, 1995. A collection of sixteen tellable folktales and three autobiographical recollections of elderly woman. Includes Gullah stories. Helpful notes follow each tale. Useful sources section at back of book. Illustrated by Leo and Diane Dillon.

Hamilton, Virginia. The People Could Fly, American Black Folktales New York. Alfred A. Knopf, 1985. Twenty-four tellable folktales divided into three sections. Two Gullah stories included. Useful notes follow each story. Extensive bibliography. Illustrated by Leo and Diane Dillon.

Hamilton, Virginia. A Ring of Tricksters, Animal Tales from America, the West Indies, and Africa New York. Scholastic, 1977. A collection of folktales with notes accompanying each story. Includes a Gullah tale. Lacks specific sources. Illustrated by Barry Moser.

Hamilton, Virginia. When Birds Could Talk & Bats Could Sing: The Adventures of Bruh Sparrow, Sis Wren, and Their Friends New York. Scholastic, 1996. Eight folktales written in cante fable fashion. Helpful afterward. Illustrated by Barry Moser.

Haseley, Dennis. Crosby San Diego, New York, London. Harcourt, Brace & Company, 1996. Picture book of a young boy who is a loner and prefers old and discarded items, rather than buying new. Illustrated by Gullah artist Jonathan Green.

Hooks, William H. The Ballad of Belle Dorcas New York. Alfred A. Knopf, 1990. A Gullah folktale of a free woman who seeks help from a conjure woman to ensure that she and her beloved, who is enslaved, may remain together. Insightful author's note. Illustrated by Brian Pinkney.

Hooks, William H. Freedoms' Fruit New York. Alfred A. Knopf, 1996. A Gullah folktale of an enslaved conjure woman who utilizes her power to obtain freedom for her daughter's boyfriend. Illustrated by James Ransome.

Jagendorf, Moritz Adolph. Folk Stories of the South New York. Vanguard Press, 1972. A Collection of ninety-five folktales divided into sections according to states. Foreward by George F. Reinecke. Illustrated by Michael Parks.

Jaquith, Priscilla. Bo Rabbit Smart for True, Tall Tales from the Gullah New York. Philomel Books, 1995. Six folktales based on Albert H. Stoddard's work. Good notes on parallel tales and other versions of the stories. Illustrated by Ed Young.

Krull, Kathleen. Bridges to Change, How Kids Live on a South Carolina Sea Island New York. Lodestar Books/Durtton, 1995. Depiction of contemporary children living on St. Helena Island with many color photographs. Part of a World of My Own series. Index and bibliography. Photographs by David Hautzig.

Lauture, Denize. Father and Son New York. Philomel Books, 1992. A picture book depicting a boy and his father engaged in various activities together in a Gullah setting. Illustrated by Gullah artist Jonathan Green.

Lester. Julius. From Slave Ship to Freedom Road New York. Dial Books, 1998. Lester's text written to accompany Rod Brown's paintings, which have been displayed as an exhibition entitled "From Slavery to Freedom" in museums and showings. Text includes three imagination exercises for Whites and Blacks. Note from author asking readers to imagine themselves in the paintings.

Lyons, Mary E. The Butter Tree, Tales of Bruh Rabbit New York. Henry Holt & Company, 1995. A collection of six folktales with a note on the stories. Illustrated by Mireille Vautier.

Lyons, Mary E. Raw Head, Bloody Bone, African American Tales of the Supernatural New York. Scribner's, 1991. Fifteen folktales divided into four sections with informative explanatory notes following each story. Includes a section on the source and variants of the stories as well as bibliographies of the stories and the notes and a suggested reading list.

McDermott, Gerald. Zomo the Rabbit, a Trickster Tale from West Africa San Diego, New York, London. Harcourt Brace & Company, 1992. A folktale in picture book format. Zomo seeks wisdom but must first perform three impossible tasks ordered by Sky God. Author's note draws connection between Zomo in Hausaland and similar folklore figures in the Caribbean and the United States.

Reneaux, J.J. How Animals Saved the People: Animal Tales from the South New York. Harper Collins, 2001. A collection of eight folktales that include Cajun, Creole, Native American, African American, and Appalachian. Introduction with helpful historical tidbits by the author who is African, Indigenous, and European. Glossary for each story and notes on every tale. Bibliography. Illustrated by James Ransome. Touching memorial tribute to author by Rafe Martin on back cover.

San Souci, Robert D. Sukey and the Mermaid New York. Four Winds Press, 1992. Story of a young girl who is treated harshly by her stepfather and finds solace and advice from a mermaid. Set in Sea Islands. Author's note very informative. One of few African folktales involving a mermaid. Illustrated by Brian Pinkney.

NEW RESOURCES (Recently Purchased by Instructional Technology Services)
(Videos, DVDs, CDs)

Gullah Gullah Island: Feelings
Gullah Gullah Island: Sing Along with Binyah Binyah
Gullah Gullah Island: Dance Along with the Daise Family
Gullah Gullah Island: Christmas
Binyah's
Gullah Gullah Island: Play Along with Binyah
Gullah Gullah Island: Binyah's Surprises
Porgy: A Gullah Version
Tales From the Land of Gullah for Kids
Tales From the Land of Gullah
Put Your Hand on Your Hip and Let Your Backbone Slip
Georgia Sea Island Songs
Daughters of the Dust
Gullah Tales

ITV PROGRAMS

Black History Specials Lesson 27 Porgy & Bess: Gullah Version
The play Porgy & Bess preformed with Gullah dialect.

Palmetto Specials Lesson 36 Gullah Culture
I. Objective
1. The students will enhance their understanding of this unique culture and language that contributes to the diversity of South Carolinians.
II. Background for the Lesson
The Gullah culture and language once predominated the barrier Sea Islands of the South Carolina coast. The blacks, who were originally brought to the Sea Islands as slaves, had little association with the rest of the population of the state because of the isolation from the mainland. Because of this, they retained much of their African languages and culture. Gullah is considered a dialect of the English language by some scholars and a separate language by others. In either case, it is a creole language, an amalgam of English, West African languages and perhaps Spanish, French and others.
Dr. Charles Joyner, in his book, Down by the Riverside, refers to Gullah as a distinct language, "the common language that the slaves forged out of diverse traditions and uncertain circumstances--for it was through Gullah that Africans from various backgrounds not only communicated with, and entertained one another, but also linked themselves into a community, gave shape to a common culture, and handed down that culture to their posterity."
Joyner adds, "It is now impossible to say, with any certainty, what Gullah sounded like as spoken by the slaves. The Gullah speech of present day All Saints Parish is probably no more than a pale reflection of antebellum slave speech."
Ronald Daise, in his book, Reminiscences of Sea Island Heritage, says "Sea Island culture is in transition. Ever since my birth in 1956, some aspects of it have died out completely; others linger, but falteringly. As a consequence of change, old tales--old spirituals, old beliefs, and old customs--soon may be nonexistent."

III. The Lesson
With bridges from the islands to the mainland, the advent of radio and television, and the simple passage of time, this unique culture and language has been eroding. Ron and Natalie Daise of Beaufort, South Carolina, among others, don't want the Gullah culture to be lost and forgotten. They have researched this subject, written books, made recordings, and have given Gullah based performances around the state and nation.
Today's program is based on some of their performances including, "Oh Death," "Martha Jenkins Tells An Eerie Tale," "Great Day," and "This May Be the Last Time."
IV. After the Lesson
Lead the students in a discussion as to why there were similarities and differences in the language and customs of Sea Island blacks and those blacks on the mainland. Talk about the reasons why a knowledge of this culture and heritage should be preserved. Detail some influences that the Gullah language and culture has had in communities throughout the country, though especially in the South, both black and white.
References:
1. Reminiscences of Sea Island Heritage; Ronald Daise, 1987, Sandlapper Publishing, Inc., Orangeburg, South Carolina.
2. De Gullah Storybook; Ronald and Natalie Daise, G.O.G. Enterprises, Beaufort, South Carolina.
3. "We'll Stand the Storm and Other Spirituals;" (audio cassette) G.O.G. Enterprises, Inc., Beaufort, South Carolina.
4, Down By the Riverside; Charles Joyner, 1984, University of Illinois Press, Urbana and Chicago, Illinois.

Mary Long's Yesteryear Lesson 18 Penn Center

This program tells the history of the Penn Center from it's beginning to it's end.

Palmetto Places Lesson 3 St. Helena

Produced by SCETV, this special series visits various sites. Students not only visit, but also learn about their historic and special relevance to South Carolina today.

Palmetto Places Lesson 20 Beaufort
Produced by SCETV, this special series visits various sites. Students not only visit, but also learn about their historic and special relevance to South Carolina today.
Conversations on SC History with Dr. Walter Edgar Lesson 11 The Antebellum Period

Produced by ITV and ETV this series features noted South Carolina historian, Dr. Walter Edgar, discussing key issues in South Carolina history with ETV's Tom Fowler.

Baker's DozenProgram 1 Lyn Z. Mueller
Description of the Program
This first program begins with the question " Have you ever hear a story so good that you hung on every word until it became alive and you became a part of it?". A good story attracts, entertains, and inspires children. This series is about stories that are told by good storytellers. All of the 13 storytellers seen in this series were inspired by Augusta Baker, a leading authority in children's literature who believed that stories stand alone when they are told.
This program's storyteller is Lyn Z. Mueller, director of the state's Writing Improvement Network who has been a storyteller for ten years. Since August Baker influenced her and gave her the power to teach reading and writing through storytelling, she considers August Baker to be her fairy godmother. Ms. Baker who helped her as a writer create rhythms and pauses in her writing and to experiment with language in a new way.
Storytelling is a wonderful art form. Telling a story can transport the listener into the story and also allow a child to make the connect between listening and reading. Listening to a story can transport the listener to another time and place.
The Storyteller's Story
Ms. Muller's story was a South Carolina Gullah tale that is at least 150 years old. It was first documented by John Bennett, in Charleston at the turn of century. The story is about a corpse that refused to stay in the grave. The widow wants the corpse to go away, but the bones stay in the house, talk to her, and rock by the fire. One day a fiddler comes to court the widow while the corpse sits by the fire. The corpse asks the fiddler to play and the bones begin to dance and "cut the buck". When the widow sees the dead man dance and his bones start falling off, she asks the fiddler to play faster. The faster the fiddler played the more bones fell off until only the head bone is left and it is still talking. The fiddler hurries away and the widow collects the bones but stacks them criss crossed so the corpse can't get back together. The widow stays a widow forever because the fiddler refuses to court her again.
Questions and Answers
1. What have you learned about stories from being a storyteller?
She learned to use rhythm in stories and to use words beyond alliteration. She said she learner ways to put words into the story so that she sculpts the words. In her own way she has learned to dance with the words and to crawl inside the story like slipping into an old pair of comfortable jeans. She now sees the story from the inside out after becoming a storyteller.
2. Should children try storytelling?
Storytelling is wonderful for children. Sometimes even children who are reluctant to read, will not be reluctant to tell stories. Book are just stories that were written down by someone.
3. What advice do you have for student storytellers?
Most children first try to retell fairy tale, but they should stick with folk tale because a folk tale isn't as long or as complicated as a fairy tale. They also try to create their own stories too soon. They should tell and retell family stories that they know and are comfortable with retelling.
4. Do you memorize your stories?
Yes, I learn my stories by heart. Augusta Baker said to learn stories like you learn your favorite songs. When you know a song by heart and the song is started you can always join in. It is the same with stories. Since you memorize the stories, you are learning them word by word, therefore you have learned them by heart.
Suggested Activities
1. At the end of the program, Ms. Mueller began a story called, "The Hag". It can be found in Gullah or South Carolina folk tale books. Remember that there may be different versions of a tale depending on who told the tale as it was written down.
2. Discuss the way Ms. Mueller used dialect to tell her stories. Did this add to the story? Would the story have been as enjoyable without the dialect? If this story would be told in a different type of dialect, what would it be like and what kinds of things would have to be changed?
3. Could the students understand the words even though some of the words and phrases may not have been familiar to them. Ask what "cut a buck" might mean in dancing. Can the students think of other such words or phrases?
4. Ask students to tell short family tales in small groups. Each group should select one storyteller to tell the family tale to the class.
5. Let students read folk tales and practice telling them to each other. Let them tell the story to the class when they know it by heart.

Baker's Dozen Program 11 Darion McCloud
Description of the Program
Have you ever told a story? It can be difficult because you have to create a world with interesting characters by just using words. Words can be powerful if used correctly. Darion McCloud uses words to create pictures in your imagination. He is a storyteller who currently works in the children's section at the public library. He is also an artist who does paintings and drawings. Listen as his words spin pictures in your mind as he tells you a story. Mr. McCloud's story originally comes from Africa but he found it in a book entitled How Many Spots Does A Leopard Have by Julius Lester. The original name was "The Woman and the Tree Children" but he like to call it "Children of the Tree".
Think back to all the stories you've read that you really enjoyed. Now imagine telling these stories aloud. It could be difficult. But telling stories aloud has dated back to the beginning of time. Words are powerful whether written or said aloud. Listen once more as Darion McCloud uses words to create images in our mind.
The Storyteller's Story
Once there was a old, old woman who wondered why she was still alive because all she had in her life was pain. She decided that a husband and children would make her life better so she asked the root doctor for them. He said it was up to her to get them. He told her to go home and shine her pots until they were bright, then take them into the forest and put them around the fruit bearing sycamore tree. She did as she was told, climbed up in the tree, picked some fruit and dropped them in the pots. She was to take the pots home and leave them alone for awhile. As she walked home, she heard the laughter of children and the smells of good things associated with children and she was so happy. She and the children lived happily and the hut was full of joy and good things.
Then one day some of the children did something that made her angry and she said to them, you are nothing more than tree children and that's all you are. That night the children all ran away. The next morning she searched for them and asked the root doctor to help. He did not know what to do so she took her pots, shinned them bright and returned to the fruit bearing sychamore tree deep in the forest hoping that her children would return. When she climbed the tree and picked the fruit, the covering came off and there was a brown fruit the color of the children's eyes and it was full of tears. She climbed down, returned home alone and lived the rest of her life alone and sad.
Questions and Answers
1. Do you tell most of your stories with dialect?
I try to tell stories with dialects even if the dialect isn't exact for the region from which the story came. I think dialects give a story a flavor that is very important to the story.
2. How did you become interested in storytelling?
I've always been interested in stories. I loved Greek mythology, comic books, films and all of them are different kinds of storytelling. Everyone in the neighborhood told stories. When I started to work at the library, I had to tell stories in the Children's Room and I was a little afraid. Once I found out what storytelling really was, I realized this was something I had done all my life. I love it.
3. How is telling stories different from reading stories out loud?
The stories I tell are folk tales, when you read you read only the words that are written on the page, Folk tales are oral traditions and everyone who tells the story adds something of themselves to the story. They are made to be told. Folk tales are my favorite type of story because a folk tale is a little bit different every time you tell the story. Everyone who tells the story tells it a little differently. This is the way it is supposed to be as long as you stay true to the story.
4. How many stories do you tell?
I have thirteen to fourteen stories that I usually tell, but seven or eight of them are probably the ones I tell best.
5. Do you memorize stories?
Yes, I memorize the events in the correct order so that I can tell it correctly and still be able to add myself to the story.
6. What do you think is the most important thing in your mind when telling a story?
Just pick good stories and enjoy the story. If you enjoy the story then you can share it better and that's what storytelling is all about.
Suggested Activities
1. "Children of the Tree" was told in wonderful dialect. Did the dialect help or distract from the story? Why would dialect be important to a story? Ask the students to think of other types of stories that need dialect to be most effective.
South Carolina Gullah tales are good examples of dialect stories.
2. Share some Greek mythology with the students. Discuss the stories and the characters in them. Why would these have influenced Mr. McCloud? Show Grecian art depicting these mythology characters. Be careful of the illustrations you chose to use with your class. Let your students draw their own illustrations.

Baker's Dozen Program 13 Sherry William
Description of the Program
Storytelling is an ancient art. It requires the teller to combine character, plot, and setting through the use of words. Think a moment how you would describe a sunrise or how a Western sheriff would talk compared to an Egyptian king. Storytelling is not easy. It is a wonderful art form. Sherry Williams has been creating this type of art for over 10 years and she likes to tell African folk tales.
Telling a story is more than entertaining a crowd. Telling a story is as unique as creating a painting. With words instead of brushes the storyteller must create a canvas of images in the listener's mind.
The Storyteller's Story
This story is called "Mr. Bear and Mr. Rabbit " and is told using a Gullah dialect. The story is from The Knee High Man and Other Stories by Julius Lester.
Mr. Rabbit was coming down the road when he saw a field of lettuce. He wanted to get in the field of lettuce but couldn't find a way in because of the tall fence. He thought the fence was too high to jump over but that he could dig under the fence. He started to dig and was not getting anywhere so he sat under the tree and began to think about how to get into the field. He saw a little gal come down the field and open the latch and go into the field. He decided to come back the next day and ask the little gal to let him in . The next day he told the little gal that her pa said for her to let him in the field and to come back at noon to let him out. So she agreed. Rabbit just ate and ate the lettuce and was barely able to get himself up and out the gate when the gal came to let him out. This continued for days until the farmer noticed that he was missing some lettuce. He went into the field and waited until he saw the rabbit and gal who let him in. The farmer decided to teach the rabbit a lesson. He let him start eating the lettuce before he caught the rabbit, tied a rope around his leg, tied the rope up in the tree, and left the rabbit there.
Mr Rabbit wasn't afraid but he knew he had to think of a way to get down. Finally, he saw Mr. Bear coming down the road, so he pretended that he was enjoying swinging back and forth by one foot from the tree. Mr. Bear begged Mr. Rabbit to let him try swinging and finally the rabbit agreed. The Bear let the rabbit down and the rabbit tied the rope around the bear's foot and left him swinging there in the tree. When the farmer came by and saw the bear in the tree instead of the rabbit, he knew that he would have to get the rabbit another time.
Questions and Answers
1. Do you like to use dialects in stories?
Yes, because I grew up around dialects. The story isn't written in Gullah but I added that because I grew up in the Low Country and always heard it. My mother didn't want it spoken in the house and used proper language, but I learned the Gullah from hearing it. In the book, Mr. Lester writes the stories in Southern Black English which is somewhat different than Gullah.
2. What is the most important thing to keep in mind when you tell a story?
You want to make sure that everyone is involved in the story, that you tell the story in sequence, and that everyone is enjoying it. You can also tailor the tale to the audience.
3. Why is storytelling important to you?
Most of the stories I tell are out of books and it is a way to bring children and books together.
4. Would you say you are a particular kind of storyteller?
I tell African-American animal tales mostly and the Gullah tales because they are the ones that are most comfortable for me to tell.
5. What authors or storytellers have most influenced you?
I love Augusta Baker's style of storytelling. She could tell a story and get you totally involved just by using her voice. I like Julius Lester"s and Virginia Hamilton's work.
6. What advice would you give someone who is telling stories for the first time?
Be sure you like the story and that you know it well. Read several kinds of stories and choose the style you like best. If you really like a story then you can tell it well.
Suggested Activities
1. Have a storytelling festival to finish your study of storytelling. Let students follow Ms. Williams advice and read lots of different tales before deciding on the type they like best. Students may choose a story from a book that they want to tell or they could write their own. Try to include as many different types of stories as possible and not have all animal or folk tales.
2. Once students have selected a story to tell, they need to practice it over and over. Let students critique the stories in a constructive, not critical way. This would be like letting other students read a story that has been written to offer helpful suggestions. Practice, practice, practice.
3. Invite younger classes to your storytelling festival. Let your storytellers sit on blankets around your room, in the Media Center, or on the playground. The younger students can rotate between the storytellers as time permits. Have fun!

Family Across the Sea
A Word About This Guide
Family Across the Sea chronicles the journey of a small band of people from South Carolina, Georgia, Florida and Oklahoma to Sierra Leone in 1989. Their goal to trace the connections between their heritage and that of the people of West Africa. Since the SC ETV program's 1990 premiere, public television viewers and teachers have been asking for a print component to go along with the hour-long documentary. This guide is the result of those requests.
The Family Across the Sea Viewer's Guide is designed to meet the needs of both general audience viewers and classroom teachers. Although the middle four pages on the copper colored paper are titled "Teacher's Guide," and structured to stand alone (thus a separate introduction), the time line and many of the field trips will be of interest to general audiences, too. Likewise, many teachers may choose to incorporate some of the essays from the viewer's guide into their lesson plans.
This guide is by no means the definitive word on the Gullah people and their history. It is meant instead to cover material not addressed in the documentary or to elaborate further on some of the "connections," such as basket-making and the cultivation of rice. The essay writers want to stimulate readers to think about the centuries-old links between the people of West Africa and their brothers and sisters scattered throughout the United States. It is also an opportunity to see how elements of the language, folklore and traditions of both the Gullah and West African people have become part of American culture today.

Palmetto Specials LESSON 36GULLAH CULTURE

I. Objective
1. The students will enhance their understanding of this unique culture and language that contributes to the diversity of South Carolinians.
II. Background for the Lesson
The Gullah culture and language once predominated the barrier Sea Islands of the South Carolina coast. The blacks, who were originally brought to the Sea Islands as slaves, had little association with the rest of the population of the state because of the isolation from the mainland. Because of this, they retained much of their African languages and culture. Gullah is considered a dialect of the English language by some scholars and a separate language by others. In either case, it is a creole language, an amalgam of English, West African languages and perhaps Spanish, French and others.
Dr. Charles Joyner, in his book, Down by the Riverside, refers to Gullah as a distinct language, "the common language that the slaves forged out of diverse traditions and uncertain circumstances--for it was through Gullah that Africans from various backgrounds not only communicated with, and entertained one another, but also linked themselves into a community, gave shape to a common culture, and handed down that culture to their posterity."
Joyner adds, "It is now impossible to say, with any certainty, what Gullah sounded like as spoken by the slaves. The Gullah speech of present day All Saints Parish is probably no more than a pale reflection of antebellum slave speech."
Ronald Daise, in his book, Reminiscences of Sea Island Heritage, says "Sea Island culture is in transition. Ever since my birth in 1956, some aspects of it have died out completely; others linger, but falteringly. As a consequence of change, old tales--old spirituals, old beliefs, and old customs--soon may be nonexistent."
III. The Lesson
With bridges from the islands to the mainland, the advent of radio and television, and the simple passage of time, this unique culture and language has been eroding. Ron and Natalie Daise of Beaufort, South Carolina, among others, don't want the Gullah culture to be lost and forgotten. They have researched this subject, written books, made recordings, and have given Gullah based performances around the state and nation.
Today's program is based on some of their performances including, "Oh Death," "Martha Jenkins Tells An Eerie Tale," "Great Day," and "This May Be the Last Time."
IV. After the Lesson
Lead the students in a discussion as to why there were similarities and differences in the language and customs of Sea Island blacks and those blacks on the mainland. Talk about the reasons why a knowledge of this culture and heritage should be preserved. Detail some influences that the Gullah language and culture has had in communities throughout the country, though especially in the South, both black and white.
References:
1. Reminiscences of Sea Island Heritage; Ronald Daise, 1987, Sandlapper Publishing, Inc., Orangeburg, South Carolina.
2. De Gullah Storybook; Ronald and Natalie Daise, G.O.G. Enterprises, Beaufort, South Carolina.
3. "We'll Stand the Storm and Other Spirituals;" (audio cassette) G.O.G. Enterprises, Inc., Beaufort, South Carolina.
4, Down By the Riverside; Charles Joyner, 1984, University of Illinois Press, Urbana and Chicago, Illinois.

South Carolina Geography Lesson 7 The Coastal Zone
Vocabulary
arcuate
bay
barrier island
citadel
delta
dunes
erosion
estuary
geologic
landscape
maritime
peninsula
resort
sediment
topography
transgressive

Definition and Location
The Coastal Zone is the region of the state where creeks and rivers are affected by the ebb and flow of ocean tides. (In some places, such as Virginia, the term "tidewater" is used to describe this region.) Counties in South Carolina that are wholly or partially located in the Coastal Zone are Harry, Georgetown, Colleton, Jasper, and Beaufort.
The Coastal Zone can be subdivided into three separate regions. The arcuate is the crescent-shaped area from the North Carolina border to Winyah Bay, near Georgetown. It is about 60 miles in length and includes many popular beach resorts, the largest of which is Myrtle Beach. This area is popularly referred to as the Grand Strand. The next 20 miles or so, from Winyah Bay to Bulls Bay, is known as the Santee Delta, the largest delta on the East Coast. It is inhabited primarily by wildlife. The remainder of the Coastal Zone south to the Georgia border consists mostly of sea islands. Charleston and Beaufort are in this region.

Pre-telecast Activities
Using a map of South Carolina, locate and briefly describe the following places.
" Student Host: Myrtle Beach (Horry County). This is the central city of the Grand Strand and one of the East Coast's most popular vacation spots. Out-of-state license tags from such places as Michigan, Ohio, and Virginia are common sights. The physical geography-primarily the Atlantic Ocean, the beaches, and the climate-has contributed to tourism's being the dominant factor in the area's economy.
" Student Host: Santee Delta. The Student Host takes a boat ride with a geologist from the South Carolina Coastal Council. They travel from a landing where U.S. Highway 17 crosses the North Santee River, through the delta to the Atlantic Ocean.
" Festival Gullah Festival (Beaufort County). Gullah is a dialect and culture of Blacks who, for many years, were isolated on the sea islands of the South Carolina and Georgia coasts. Roads, bridges, mass media, and improved educational and economic opportunities have caused Gullah to diminish. This festival is held to help preserve the cultural heritage of the Gullah people.
" Student Host: Morris Island (Charleston Harbor). The size and shape of Morris Island has changed dramatically since Confederate batteries there protected Charleston Harbor during the War Between the States. As a transgressive barrier island, its shoreline is constantly changing. The old abandoned lighthouse there now lies several hundred feet off shore.
" Student Host: Hilton Head (Beaufort County). The general erosional stability of this beach ridge barrier island, along with its moderate climate and tropical landscape, has helped in its development as an internationally known resort.
" 50-Minute Man: Charleston County. The 50-Minute Man travels on a shrimp boat from a landing along Bohicket Creek on Wadmalaw Island to the North Edisto River and the Atlantic Ocean. He mentions that fishing and shrimping are-factors in the coastal economy, passes Rockville, and points out the changing landscape on Seabrook Island due to the construction of resort residences.
" Festival Host: Beaufort County Water Festival (Beaufort). Water has historically affected the culture and economy of the Beaufort area. It has kept people isolated on the sea islands, along with bringing people in to make new settlements. Shrimping and fishing are important here, as are military establishments such as the Parris Island Marine Base. Water is also significant in the recreational activities of the area.
" Student Host: Charleston (Charleston County). Charleston is the second largest city in South Carolina. It is on a peninsula formed by the Ashley and Cooper rivers, and is one of the nation's oldest and most historic cities. Its landscape consists of many architecturally unique homes. The host visits the four corners of law at Meeting and Broad streets (U.S. Post Office, County Courthouse, City Hall, and St. Michael's Episcopal Church); The Citadel (a state-supported military college); and Battery Park. The College of Charleston is also located here.

Post-telecast Activities: Points for Discussion,
Clarification, Review, and Research
" Tourism is a top "industry" in South Carolina, and the Coastal Zone accounts for a major part of that tourist trade.
"
o Why are people both from in-state and out-of-state attracted to the Coastal Zone?
"
o How has the increased popularity of the Coastal Zone affected the landscape of the region over the past 20 years?
" The city of Charleston is continually struggling between growth and historic preservation. Does one necessarily have to give way to the other? What similar struggles might be occurring in your area?
" Why are some sea islands, such as Hilton Head, better suited for development than others?
" Why did many people on South Carolina's sea islands develop a unique cultural language dialect? Why is it disappearing? Should it be preserved?
" The landscape of Myrtle Beach has changed dramatically over the last quarter of a century-from a small town consisting primarily of single-family dwellings, to a large town with shopping malls and high-rise hotels and condominiums. Has this been good for the local economy? What damages might lie ahead (overbuilding, hurricanes, storm erosion of beaches that would, in turn, threaten buildings)?
" Have students discuss whether or not they would like to live year-round in the Coastal Zone. In what part would they choose to live? What would be some of the advantages or disadvantages of living in the Coastal Zone? Discuss the types of work they might do there, housing, etc. Why might some tourists choose to visit the beaches of South Carolina in the late fall and winter? What are some advantages and disadvantages of visiting during those times of the year?
" Using another method of transportation other than that used in today's lesson, select a trip in the Coastal Zone that should take approximately 50 minutes-the time spent in this class.
" The 50-Minute Man went from Bohicket Creek to the North Edisto River and south to the Atlantic Ocean. Where might he have arrived in 50 minutes had he traveled north on the Edisto? In three hours? (Be certain to differentiate between the North Edisto and the North Fork Edisto on the map.)
" "Beach music" and the "shag" are cultural phenomenons heavily rooted in the South Carolina coast. Play some beach music (The Tams, The Embers, The Drifters, etc.). Why was/is this music especially suited for "beach life"?
" Study a detailed map of the Coastal Zone showing the sea islands, bays, and estuaries to determine how the coastline could be "stretched" to about 3,000 miles. What comparison was used in the lesson?
" Have a group of students prepare an ad campaign for radio, television, and print that promotes tourism for the South Carolina coast. Note how great a role "geography" plays in such a campaign (climate, people, culture, highways, railroads, air service, recreation, etc.).
" What steps has the General Assembly taken to deal with beach erosion?