The aim of this course is to study one of the world's invaluable sources of spirituality and education: the African Indigenous cultural tradition. We shall explore the meanings that Indigenous people give to knowledge (education for a living) and wisdom (education for life). We shall have the opportunity to see the world through their lens: a holistic worldview that sees all of life and ALL that is as Inter-connected and Inter-dependent.
Through a documented case study of one of the ethnic groups of Tanzania, East Africa, the course will gradually walk students through several fundamental cultural vessels seen by these people as transmitters of knowledge and wisdom, namely: story-telling, proverbs, riddles, music, dance, rituals, role playing and art. The awesome reflections of Sobonfu Some (of Burkina Faso, W. Africa) will season this case study in a way that gives you a taste of Indigenous Spirituality and Education from two corners of Africa: West Africa and East Africa. Students are invited to see this as a journey through Africa in which they are called forth to fully engage themselves with the people and with the cultures that they meet.
As students take this online course they will deepen their experience of life as holistic and inter-connected. In fact, all indigenous cultures have always understood life and all that is as such, so this will be a unique opportunity for each student in the online class to remember and reclaim this life enhancing and cosmic sustaining dimension of life.
Throughout the course the instructor and students will dig into this indigenous well of knowledge and wisdom so that, armed with new findings and insights, they may deepen their experience of life as harmonious and holistic. In the final analysis, the course will sharpen their abilities to: analyze new findings and insights from a global perspective; appreciate the power of stories, proverbs, riddles, music, dance, art and rituals in the transmission of culture and values; and assist them to translate these timely and timeless emerging values into their own spiritual development and that of others.
Course Learning Goals
After completing this course, students will be able to: (the competence designators are suggested for the student, who is free to use other competences or change them):
- Identify and appreciate the African Indigenous Worldview and try to learn from it (H-5; FX; AIH; A3B).
- Demonstrate how knowledge and wisdom are inseparable and inter-connected. (A3B).
- Appreciate the power of stories, proverbs, music, art, and ritual in the transmission of values and culture. (H-5; AIH).
- Explain how virtue and wisdom are nurtured in the young people of Indigenous Africa. (H-5; A3B).
- Use all emerging findings and insights for their own spiritual development. (A3B; FX; etc.).
- Apply these findings to the spiritual development of others, like: family, their local community, mentoring the young on their block, modeling in virtue for an 8th grade class, a college freshman class with students of various cultures and religions, etc. (H-5; A3B; FX).
In this course, you will develop the following competencies:
Competence Statement and Criteria
Can analyze issues from a global perspective
Can explain folk arts in the transmission of culture and values
Can explore a model of spiritual development and apply it to self or others.
Can study and apply insights and findings from African Spirituality to a given business or work situation in accordance with one's Focus area.
How the Competences will be Demonstrated in this Course
All of students will explore the African Indigenous paradigm of community and inter-connectedness and on this basis go on to study and analyze the issue of the world as one community. They will also have the opportunity to study in some detail how culture and values are transmitted in Indigenous Africa, and then be invited to use the emerging findings and insights in imagining more effective ways of transmitting culture and values in contemporary times. In their short papers, discussions, debate, and role playing, they will be able to apply the findings and insights of this course to formation situations that are familiar to them, such as: family, their local community, their local school, or college classroom.
In this course, the demonstration of Competence will be done in assignments 1.5, 2.5, 3.5 and 4.5. In these assignments, the student will be asked to select one main theme from the Module under consideration (or two themes if they have two competences). Then for each demonstration of competence, the students first states the appropriate Competence Statement, then moves on to relate the selected theme to the competence. For instance, a student with an H5 competence may select “community” as a theme in assignment 1.5 of Module One, and then move on to show how the theme of community is a universal human experience, using all textbooks and personal experience. If the same student has an A-3-B Competence, she or he will select another theme from the same Module and proceed to demonstrate this competence in the context of the selected theme and Module being studied. A student may choose to use the same theme in both Competences. Please note: each competence essay should have at least 300 words, but can definitely have more than that number. This applies to the A-1-H competence as well. All discussions and assignment will provide some insights and findings that will be useful in the writing of the final integrating paper.
H5: Can analyze issues and problems from a global perspective.
Facets of this competence:
- Analyzes one or more global issues, problems, or opportunities facing the human race.
- Explains how these issues affect individuals or societies in both positive and negative ways.
A1H: Can explain the function of folk arts in the transmission of culture and values.
Facets of this competence:
- Explains the characteristics of folk arts.
- Describes dynamics or mechanisms of how culture and values are transmitted.
- Describes the role folk art may play in the transmission of culture and values.
- Applies (3) to one or more specific examples.
Here is a special guideline for the A-1-H Competence:
A student who has chosen this competence will do the following: in assignments 1.5, 2.5, 3.5 and 4.5, this student will go to a library, or to a museum or a house of art, may also go to the internet, and there find two Indigenous African artifacts: paintings, carvings, photos and so on and then work with each artifact this way: First, identify the African country from which this artifact comes from, name of artist or name of the ethnic group concerned, approximate date of making; then secondly give a comprehensive elucidation of the spiritual or moral meaning/message emerging out of this artifact. Each Indigenous African artifact or work of art is done (through a profound engagement of the artist’s mind, heart and hand) to convey a certain moral and spiritual meaning. For example an artifact with the figure of Mother, Father and Child shows the importance of family, the importance of parental responsibility and the importance of marriage as the origin and foundation of family. A student who selects this artifact in Module One will then connect this meaning to the theme of community which appears in all the textbooks being studied, and move on to make references to the textbooks and to personal experience. The meaning of each artifact therefore, should be connected to a specific theme in the Module under study, to the textbooks and to personal experience. The main aim of this assignment is to show how values and culture are transmitted through art, and to reflect on how the same is happening in our time. The photos, images or pictures of these two artifacts in each of the assignments 1.5, 2.5, 3.5 and 4.5 must be uploaded into D2L so that the instructor can see them. Finally, the student should indicate at the end of each A-1-H competence essay the source of each artifact, like a library, a museum (which one, where), a website and so on.
A3B: Can explore a model of spiritual development and apply it to oneself or others.
Facets of this competence:
- Discusses the assumptions and implications of a model(s) of spiritual development.
- Discusses the model in relation to one's or others' experience.
FX: Can study and apply insights and findings from African Spirituality to a given business or work situation in accordance with one's Focus area.
In the first week of the course, a student registered for the FX Competence should design a tentative FX Competence Statement and have it approved first, by her/his faculty mentor and finally by this instructor.
A student with this competence will also begin the demonstration of competence by first selecting a theme from the Module under study, state that theme and then state the Competence Statement at the beginning of the paper.
A student who takes this FX competence will be assessed according to his or her ability to apply learned insights and findings to her or his focus area. Again, make references to all three textbooks and to personal experience in order to show how those learned insights and findings apply to one’s focus area.
To buy your books, go to http://depaul-loop.bncollege.com
Textbooks: A student must have the first and second textbook, and then select one more textbook from numbers 3, 4, and 5. Each student will therefore have three required textbooks.
1. Mosha, R. Sambuli. (2000).The Heartbeat of Indigenous Africa. A Study of the Chagga Educational System. New York: Taylor and Francis Group.
Your instructor is the author of this book, a case study of how Indigenous children were raised among his own people, the Chagga of Northern Tanzania. The main question which the book tries to answer is not what children were taught, but rather, how children were helped to acquire the knowledge and wisdom cherished by their families and communities. The author raises the issues discussed in the book to the level of the global stage by making references to other disciplines such as philosophy, theology, anthropology, psychology, spirituality, ethics, and other related areas of knowledge and wisdom, thus making the work inter-disciplinary and inter-connected with other formation traditions.
2. Some, Sobonfu. (2002). The Spirit of Intimacy. Ancient Teachings in the Ways of Relationships. New York: HarperCollins Books.
Sobonfu Some, a native of Burkina Faso in West Africa, gives rich reflections mined from the Wisdom and lives of her West African Dagara village elders, brothers and sisters. She speaks about the importance of a living, breathing, continual connection with Spirit and Community, about the ways of experiencing a genuine intimacy with life itself. You will find her reflections peace-inducing, inspiring and life enhancing.
SELECT ONE FROM THE FOLLOWING THREE TEXTBOOKS and let the Instructor know your choice in the first week of the course.
- Maathai, Wangari. (2006). Unbowed, A Memoir. New York: Alfred A. Knopf
- Some, Malidoma Patrice. (1999).The Healing Wisdom of Africa. New York: Jeremy P. Tarcher/Putnam.
- Mandela, Nelson. (2010). Conversations with Myself. New York: Farrar, Straus and Giroux.
Course Grading Scale
A = 95 to 100
A- = 91 to 94
B+ = 88 to 90
B = 85 to 87
B- = 81 to 84
C+ = 77 to 80
C = 73 to 76
C- = 69 to 72
D+ = 65 to 68
D = 61 to 64
F = 60 or below
Please note: Grades lower than a C- do not earn credit or competence in the School for New Learning.
This course consists of 5 modules. The estimated time to complete each module is 2 weeks.
Module One addresses the African Indigenous Worldview and its four aspects. It also studies the ipfunda concept, the role of family, elders, the community, and peers in raising children, and looks at Sobonfu Some's reflections on community and spirit.
Module Two deals with the transmitters of culture and values, namely, story-telling, proverbs, riddles, song/music, dance, art, ritual and role playing.
Module Three addresses six specific virtues of the Chagga people and shows how these are nurtured in the young.
Module Four summarizes the main findings and insights and tries to apply these to one’s own personal spiritual development and that of others, specifically in one’s family, local community, or school.
Module Five allows you to integrate your learning in your final integrative paper.
The following table outlines the course:
Week, Module # and Title
Weeks 1 and 2, Module 1: The African Indigenous Worldview
Read Mosha, pp. vii to 46
Read Some, pp. vii to 39.
1.1 Self Introduction Discussion
Weeks 3 and 4, Module 2: Use of storytelling, proverbs, riddles, music, dance, art, ritual and role playing in the transmission of culture and values
Read Mosha, pp. 47-85
Read Some, pp. 40-66
Weeks 5 and 6, Module 3: Nurturing Virtue in Indigenous Africa
Read Mosha, pp. 87-158
Read Some, pp. 67-101
Weeks 7 and 8, Module 4: Reclaiming the Foundations of a Holistic Education
Read Mosha, pp. 159-251
Read Some, pp. 102-140
Weeks 9 and 10, Module 5: Integration of Learning
5.1 Final Integrative Reflection/ Discussion
5.2 Final Integrative Paper
This course has six discussions, 15 assignments and one final integration paper. Assignments 1.5, 2.5, 3.5 and 4.5 are designed to give the student an opportunity to demonstrate competence. In these four assignments the student should select one main theme (examples: community; it takes a village to raise a child; parenting; storytelling; proverbs; ritual; respect; silence; courage; hard work, etc) from a given Module and then relate that theme to a particular competence, making sure that the textbooks are referenced, also the experience and reflection of the student. Select one or two distinct themes in a given Module if you are registered for two competences, and treat each competence separately. Always begin your demonstration of competence by first stating the competence statement concerned and the theme you have selected. A student may use the same theme for the two competence papers in that Module, or may select two themes for two competence essays if she/he is registered for two competences.
Make use of all materials emerging from the course, your own experience and reflection on all of them. Properly acknowledge all sources and clearly identify your own experience, reflection, findings and insights. Please note: each competence essay should have at least 300 words, and may have more than that number.
The final integration paper will have a minimum of 1200 words or four full pages written in 12 font size. This paper will summarize your learning experience and growth in the course.
Percentage distribution of Assessments
|Fifteen (15) assignments||60%|
Grading Policies and Practices
To complete the course, you must complete each of the assignments as described in the course and submit them to your instructor by the assigned deadline. In addition, you must participate in the course discussion forum by responding to all instructor requests and by interacting with fellow classmates as necessary.
Points are deducted for late work.
HOW TO DO WELL IN THIS COURSE:
- Participate in class discussions. The class discussions and homework exercises are worth a large percentage of your grade. All Modules ask you post an opinion and include at least two responses to classmates. Be on time with discussions in particular so that others in the class have a chance to read your post and respond to it, and so that you have a chance to respond to at least two other students. Your post should be as comprehensive as possible, and your responses should be substantial, going beyond a mere: “Yes I agree or disagree” to “ You said that….. and I like what you said because…….” Make responses fairly comprehensive as well.
- Do not fall behind. In general once a discussion is graded its over. Don't think you can post discussion items several weeks after they are graded and expect credit. The class has moved on and it is difficult for course administrators to find your postings after they have been graded.
- Read the assignments carefully and follow directions for each assignment.
- Give a large chunk of time to this course, about 10 or more hours per week.
- Post all assignments by the specified due date. This will give 7% points.
- Read ALL ANNOUNCEMENTS CAREFULLY. These Announcements are up to date and often will give you extra guidelines to clarify what is in the syllabus. For this instructor, the Announcements are crucial if you want to do well in this course.
Assessment Criteria for Papers by Competence
Each short paper for the competence chosen will be assessed as excellent if you adhere to the required topic and content, which should be in accordance material covered in a particular Module. To write an excellent paper, keep in mind the material of that particular Module, refer to your experience as well, and make use of ideas and insights from other students and the instructor. Acknowledge all sources, write well and systematically, and put your entire mind and soul in the work and reflections.
General Assessment Criteria for All Writing Assignments
In general, grading of all writing assignments will be based on the following:
Content: refers to the treatment of your topic, logically and analytically. This is the substance, the what of the paper; what you had to say about the topic, what you presented in defense of your position, and what your analysis revealed about your thought processes and grasp of the material your grappled with.
Organization: is the way your paper is laid out and presented, including both the overall organization and the arrangement of individual sections. These include: a relevant title, and subheadings; introductory material, where needed; summaries, where appropriate; connections and transitions; and what used to be called "rhetoric": the skillful arrangement of the pieces for the maximum persuasive impact on the reader.
Mechanics: refers to the use of your Spelling and Grammar checker, the use of Standard English, proper sentence structure and punctuation, and effective and sensitive word choice. Mastery of basic communication and writing skills is a must for undergraduate and graduate students. The paper you prepare should also use proper APA citation form for the in-text references as well as the bibliography.
It is important that your essays and papers:
- Specifically address the competence that you are fulfilling in this course (assignments 1.5, 2.5, 3.5 and 4.5)
- Organize your supportive evidence into relevant paragraphs that address your subject.
- Take into account a variety of points of view.
- Demonstrate your appreciation of other points of view, showing empathy and the ability to account for the vantage points of others.
- Demonstrate that you are able to integrate the evidence derived from your chosen sources into your argument according to Standard English using proper grammar, mechanics, and sentence structure.
- Use proper quotation form, including introduction of your quotation as well as your commentary following the quotation.
- Have an introduction, the body of main content, and a concluding paragraph for each short paper and the final paper.
- Contain proper APA citation form for in-text references as well as for the bibliography.
All writing assignments are expected to conform to basic college-level standards of mechanics and presentation.
Consider visiting the Writing Center to discuss your assignments for this course or any others. You may schedule appointments (30 or 50 minutes) on an as–needed or weekly basis, scheduling up to three hours’ worth of appointments per week. Online services include Feedback–by–Email and IM conferencing (with or without a webcam). All writing center services are free.
Writing Center tutors are specially selected and trained graduate and undergraduate students who can help you at almost any stage of your writing. They will not do your work for you, but they can help you focus and develop your ideas, review your drafts, and polish your writing. They can answer questions about grammar, mechanics, different kinds of writing styles, and documentation formats. They also can answer questions and provide feedback online, through IM/webcam chats and email.
Obviously, the tutors won’t necessarily be familiar with every class or subject, but they are able to provide valuable help from the perspective of an interested and careful reader as well as a serious and experienced student-writer.
Schedule your appointments with enough time to think about and use the feedback you’ll receive. To schedule a Face-to-Face, Written Feedback by Email, or Online Appointment, visit www.depaul.edu/writing.
Discussion Forums are an important component of your online experience. This course contains discussion forums related to the topics you are studying each week. For requirements on your participation in the Discussion Forums, please see "Course Expectations" in the syllabus.
A Course Q & A discussion forum has also been established to manage necessary, ongoing social and administrative activities. This is where the management and administrative tasks of the course are conducted, and where you can ask 'process' questions and receive answers throughout the course. Please feel free to answer any question if you feel you know the answer; this sharing of information is valuable to other students.
Assessment Criteria for Online Discussion Participation
Here as some common expectations for discussion:
- Quality, quantity, depth, breadth.
- Frequency of discussion participation and interaction;
- Relative emphasis to be placed on facts, concepts, critical thinking, and analysis, writing, format, and quantitative reasoning;
- Deadlines for participation: first comment by mid-week so there is time for discussion;
- Appropriate discussion etiquette;
- Frequency of check-ins, at least four times a week.
Online Participation Guidelines
A significant part of your online learning experience involves learning with and from your classmates and the instructor in the online discussions and group assignments.
Active participation means sharing information and resources and posting your ideas and critiquing and expanding on the ideas of others in a collegial fashion. This discussion is informal in the sense that it is meant to encourage interested discussion. As participation in discussion is a graded portion of the course, you are expected to follow accepted standards of English spelling, grammar and usage in your contributions. You are also required to be respectful of your instructor and other students.
These discussions are for you to exchange your reflections with your classmates and instructor about what you are learning. The discussion will be organized around the particular topic you studying each week.
You may be asked by the instructor to take leadership in a certain group for a certain time of the course. You will receive further instructions from your instructor if this occurs.
You are asked to contribute your responses to the particular assignment for that particular discussion heading which will be posted. For each general Discussion Topic, you are required to make at least two original, substantive contributions (posts) to each topic each week.
Time Management and Attendance
SNL's online courses are not self-paced and require a regular time commitment EACH week throughout the quarter.
You are required to log in to your course at least four times a week so that you can participate in the ongoing course discussions.
Online courses are no less time consuming than "face to face" courses. You will have to dedicate some time every day or at least every second day to your studies. A typical four credit hour "face to face" course at SNL involves three hours of classroom meeting per week, plus at least three to six hours of study and homework per week.
This course will require at least the same time commitment, but your learning activities will be spread out through the week. If you have any problems with your technology, or if you need to improve your reading or writing skills, it may take even longer.
The instructor should be notified if your life events do not allow you to participate in the course and the online discussions for more than one week. This is particularly important when there are group discussions or you are working as part of a team.
If you find yourself getting behind, please contact the instructor immediately.
Your Instructor's Role
Your instructor's role in this course is that of a discussion facilitator and learning advisor. It is not their responsibility to make sure you log in regularly and submit your assignments. As instructor, s/he will read all postings to the general discussion forums on a daily basis but may not choose to respond to each posting. You will receive feedback to assignments.
The instructor may choose to designate "office hours" when s/he will be online and available and will immediately respond to questions. Depending on the instructor, this response may be by e-mail, instant messenger or telephone. Otherwise, you will generally receive a response to emailed or posted queries within 48 hours.
Your Role as a Student
As an online student, you will be taking a proactive approach to your learning. As the course instructor's role is that of a learning guide, your role is that of the leader in your own learning.
You will be managing your own time so that you can complete the readings, activities and assignments for the course, and you will also be expected to take a more active role in peer learning.
Please also note that this is a course offered by DePaul University's School for New Learning (SNL), a college for undergraduate and graduate degree-seeking students 24 years and older. SNL welcomes the perspectives and encourages the participation of all DePaul students, and students who take this course should respect and be mindful of SNL's mission in supporting a diverse and inclusive environment. More information about SNL can be found here.
View this brief demo Taking SNL Online courses in D2L to learn how to navigate through your course.
If you’re new to SNL Online see additional resources on the course home page under Student Resources/Getting Started.
Online discussions are an important part of your course experience. To ensure a positive learning environment, please follow the following minimum expectations. Use your common sense, as not all situations can be covered:
- Be polite
- Respect other participants’ views or opinions
- Think before you write, and ask yourself if you would say the same thing in person
- Use positive phrases (i.e., "Good idea!" or "Thanks for the suggestions," etc.)
- Be sensitive to cultural differences
- Avoid hostile, curt or sarcastic comments
- No objectionable, sexist, or racist language will be tolerated
- Create a positive online community by offering assistance and support to other participants.
- Use correct grammar and syntax
DePaul University is a learning community that fosters the pursuit of knowledge and the transmission of ideas within a context that emphasizes a sense of responsibility for oneself, for others and for society at large. Violations of academic integrity, in any of their forms, are, therefore, detrimental to the values of DePaul, to the students' own development as responsible members of society, and to the pursuit of knowledge and the transmission of ideas.
Violations include but are not limited to the following categories: cheating; plagiarism; fabrication; falsification or sabotage of research data; destruction or misuse of the university's academic resources; alteration or falsification of academic records; and academic misconduct. Conduct that is punishable under the Academic Integrity Policy could result in additional disciplinary actions by other university officials and possible civil or criminal prosecution. Please refer to your Student Handbook for further details.
Plagiarism is a major form of academic dishonesty involving the presentation of the work of another as one's own. Plagiarism includes but is not limited to the following:
- The direct copying of any source, such as written and verbal material, computer files, audio disks, video programs or musical scores, whether published or unpublished, in whole or part, without proper acknowledgement that it is someone else's.
- Copying of any source in whole or part with only minor changes in wording or syntax, even with acknowledgement.
- Submitting as one's own work a report, examination paper, computer file, lab report or other assignment that has been prepared by someone else. This includes research papers purchased from any other person or agency.
- The paraphrasing of another's work or ideas without proper acknowledgement.
- Resubmitting one's own previous work from a different course or college, without the permission of the current instructor.
Plagiarism, like other forms of academic dishonesty, is always a serious matter. If an instructor finds that a student has plagiarized, the appropriate penalty is at the instructor's discretion.
DePaul University Incomplete Policy
The intent of the Incomplete grade is to allow students extra time to complete their final assignments. This need arises because, in the closing weeks of the course, they have an event of significant magnitude that adversely affects their ability to complete the course, e.g. serious illness, death in the family, overseas deployment, or natural disaster.
You must request an incomplete grade in writing two weeks before the end of the quarter. Incomplete grades will be considered only after you have satisfactorily completed at least 75 percent of the coursework, and you have such an unexpected, uncontrollable event that prevents you from completing your course. Do not assume that you will qualify for an incomplete. Students who are failing the course at the point where they request an incomplete will not receive one, nor will they be granted after the end of the quarter. Incomplete grades are given at the discretion of the instructor.
If you do receive permission from the instructor to take an incomplete in the course, you will be required to complete a contract with the instructor, specifying how you will finish the missing work within the next two quarters (excluding summer). See the Incomplete Grade Contract Form.
Undergraduate and graduate students will have up to two quarters to complete an incomplete. At the end of the second quarter (excluding summer) following the term in which the incomplete grade was assigned, remaining incompletes will automatically convert to "F" grades. Ordinarily no incomplete grade may be completed after the grace period has expired. Instructors may not change incomplete grades after the end of the grace period without the permission of a college-based Exceptions Committee. This policy applies to undergraduate, graduate and professional programs. NOTE: In the case of a student who has applied for graduation and who has been approved for an Incomplete in his or her final term, the incomplete must be resolved within the four-week grace period before final degree certification.
Description of Pass/Fail Grading Options
Students have the option of taking all SNL undergraduate courses as Pass/Fail even if a class is initially structured for a letter grade assessment. In these cases a Pass is awarded when competence is demonstrated at a level that would otherwise earn a grade of C- or higher.
In deciding to select Pass/Fail grading students should be aware that competencies assessed in a course as Pass will earn credit hours toward degree completion but will not be included in computing grade point averages. Attempted competence demonstration assessed within a class as Fail will not only be recorded as credit hours attempted but will also be included in computing a student's grade point average.
For SNL students, competencies awarded for Independent Learning Pursuits and in the Lifelong Learning Domain do not count toward the university's specification that only twenty credit hours may be earned through the Pass/Fail assessment option.
Please note:There are three SNL courses within the BA curriculum that are always assessed on a Pass/Fail basis: Foundations of Adult Learning (course number LL 250; competences L-2 and F-1), Advanced Project (course number FA 303; competences F-11 and F-12) and Summit Seminar (course number LL 390; competence L-12). These classes may not be taken for a letter grade assessment. Therefore, work that might otherwise be assessed at grades A through C- will earn a Pass in these classes.
There are an additional five SNL courses within the Lifelong Learning Area of the BA curriculum for which instructors regularly use a Pass/Fail grading system that may instead be taken for a letter grade assessment if this is a student's preference. These classes are: Independent Learning Seminar (course number LL 103; competence L1); Writing for Competence (course number LL 260; competence L-4), Critical Thinking (course number LL 270; competence L-5), Research Seminar (course number LL 300; competences L-8 and L-9), and Externship (course number LL 302; competences L-10 and L-11). In addition, SNL's undergraduate Writing Workshop (course number LL 140; competence H-3-J) regularly uses Pass/Fail, although students may request a letter grade assessment. In these instances SNL offers undergraduate students the opportunity to request a letter grade assessment from their instructor. Students who need a letter grade for tuition reimbursement may wish to consider this option, as well as those who wish to raise their GPA. Students planning to attend graduate school may also prefer letter grades to Pass/Fail assessments.
If a student wants to switch the method of assessment, either to or from the Pass/Fail option, this must be requested from the instructor in writing by the beginning of the third week of the quarter. For courses that meet fewer than ten weeks of the quarter, this request must be made by the beginning of the third week of the course. The grading basis may not be changed after these deadlines, with no exceptions.
For Students Who Need Accommodations Based on the Impact of a Disability
Students seeking disability-related accommodations are required to register with DePaul's Center for Students with Disabilities (CSD) enabling you to access accommodations and support services to assist your success. There are two office locations:
Center for Students with Disabilities (CSD)
Loop Campus: Lewis Center 1420. (312) 362-8002
Lincoln Park Campus: Student Center 370. (773) 325-1677
Students are also invited to contact their instructor privately to discuss your challenges and how the instructor may assist in facilitating the accommodations you will use in this course. This is best done early in the term and the conversation will remain confidential.
Dean of Students Office
The Dean of Students Office (DOS) helps students in navigating the university, particularly during difficult situations, such as personal, financial, medical, and/or family crises. Absence Notifications to faculty, Late Withdrawals, and Community Resource Referrals, support students both in and outside of the classroom. Additionally we have resources and programs to support health and wellness, violence prevention, substance abuse and drug prevention, and LGBTQ student services. We are committed to your success as a DePaul student. Please feel free to contact us.
Protection of Human Subjects
For more information see: http://research.depaul.edu/
Demonstrating the acquisition of competencies in this course can involve "interactions"—interviewing and or observing other people—discussing those interviews or observations with other class members and writing them up in one or more final report(s). As such, these activities qualify as "research" with "human subjects" and are subject to University and Federal guidelines. Because it takes place in the context of this course, your research is exempt from approval by the School for New Learning's Local Review Board only under the following conditions:
- The information you collect is EXCLUSIVELY for the purpose of classroom discussion and will NOT be used after the term is over. If there is any possibility that you will EVER use it in further research or for publication, you must obtain approval from the Local Review Board before you begin.
- You assess and ensure that no "harm"—physical, mental, or social—does or could result from either your interviews and/or observations or your discussion and/or reports.
- The privacy and confidentiality of those that you interview or observe must be protected. Unless you receive specific permission, in writing, from the person(s) you interview or observe, please change their names, and make sure that their identity cannot be readily ascertained from the information you provide.
- If you want to use real names and relationships, they must sign an "informed consent" document. For information on creating an "informed consent document" see, for example, http://www.research.umn.edu/consent.
Copyright and Student Privacy
In accordance with DePaul’s Acceptable Use Policy, commentary and materials within SNL Online classes shall not be copied, reproduced or published elsewhere without the express written consent of individuals involved.
This course was designed and produced by Raymond S.Mosha and staff at SNL Online of the School for New Learning of DePaul University.
©2010 School for New Learning, DePaul University. All Rights Reserved by SNL during contractual interval with the Author.
Printed in the USA.


Here is a list of activities and resources we are using for a unit on Ancient African Kingdoms that I am co-teaching for a group of homeschoolers, ages eight through ten. The class is a sixteen-week unit that explores the history and culture of eleven kingdoms.
We are using the BBC’s Lost Kingdoms of Africa and the PBS series Wonders of the African World as the primary guides for exploration of Ancient Africa, but we are reading broadly as well. The class is a field trip heavy, and during the field trips we will learn about and experience the dance, food, and art of various African cultures, both old and new. And a few of us will cap off the semester with a trip to Ghana. This may be our best unit yet!
Throughout the course, we will focus on cultivating the following habits of mind:
- Exploring African history from an Afro-centric rather than Euro-centric perspective, and thinking about how perspective effects interpretation.
- Understanding and valuing the role of oral history.
- Privileging artifacts and primary resources over interpretation.
- Exploring art as a unique expression of the culture (by looking at epic poetry, dance, sculpture, and architecture).
Week 1: Introduction
Before class, students were instructed to complete or begin:
- Read three folktales from Nelson Mandela’s Favorite African Folktales: “The Great Thirst;” “Mmadipetsane;” and “The Mother Who Turned to Dust.”
- Watch four episodes of Tinga Tinga Tales, from the BBC: “Why Baboon Has a Bare Bottom;” “Why Lion Roars;” and “Why Giraffe Has A Long Neck.” They can be seen on YouTube.
- Read Rick Riordan’s The Red Pyramid (due on Week 3).
Activity 1: Map (20 minutes)
Before class, blow up and laminate a large map of Africa, a map that shows the physical features of Africa without country borders. Have it displayed where students can see it.
As students walked in, they should find a spot around the table and began to work on a map of Africa. African Physical Map from World Reference Maps and Forms, page 64. Give them a direction list like the one on page 36. As students are working, they can look at the laminated map and compare maps with one another. Wander around to make sure they are doing it accurately.
After they finish, ask them what they notice about the maps. The key thing you want them to come away with is that the Earth did not come with country lines drawn in. That humans did that for lots of reasons, which is what we’re going to be studying this semester.
Activity 2: Get-To-Know-You Memory Game (20 minutes)
Do you remember the Memory Card Game, where you flip cards that are face down in an attempt to find matching pairs? In this game, the students will create cards that describe themselves to the group. To begin, give each student eight index cards, cut in half. They should write their name on all eight cards, and then write the following on each of four pairs: favorite food, favorite book, future job, and a fear (like spiders or lightening). Collect all the cards, shuffle them, and place them face down on the table. Take turns trying to find matches until all the cards have been turned over.
Activity 3: KWL Chart (15 minutes)
On a sheet of newsprint, draw a KWL chart. (It’s three columns, with the words Know, Want to Know, and Learned on top of the columns.) Tell students that you are going to fill in the first two columns today, and that you’ll fill in the last column during the last class. Begin by asking students what they know about ancient Africa. Don’t worry if they say things that aren’t true. When you review the chart at the end of the semester, you can come back to the list to see if they should cross things off. If several students disagree about something on the list, you can add the dispute to the Want to Know list.
Activity 4: Timeline (15 minutes)
Before class, make a 4.56 meter timeline that you can post along a wall of the room. Begin on the right of your timeline and mark “Today.” Mark each centimeter to the left of today, where each centimeter is 10 million years. The far right mark of your timeline will be 4.56 billion years ago, when scientists believe the Earth was formed.
Show the students the timeline and make sure that they understand the scale. Next, To lay out on the table sheets of paper with the following terms on them: Earth formed (4.56 billion years ago), First evidence of life on Earth (3.8 billion years ago), First dinosaurs roam the Earth (250 million years ago), Last of the dinosaurs die out (65 million years ago), Primates originate in Africa (40 million years ago), First hominids, like Neanderthal man, originate (7.5 million years ago), Early homo sapiens (like Cro-Magnons, orginate (250,000 years ago), Modern homo sapiens develop, marked by things like their use of language (50,000 years ago), Farming begins in places like China and along the Nile (10,000 years ago), Pyramids built (2,600 bc), American Revolution begins (1776), We land on the moon (1969), Nina was born (2009). Go through each one, asking students to place it correctly on the timeline.
“What’s the problem?” Human history is so recent that all of it fits into the tiniest little slice on the 4.5 meter-long timeline. Remind students that when we talk about ancient Africa, or any ancient civilization, it really wasn’t that long ago. Tell them that next week, we’ll have a timeline of the last 5,000 years, to which we will add events as we go through the course. Click here to see the master timeline that we are using for the semester.
Activity 5: Folktales (15 minutes)
Ask students to reflect for a few minutes on all of the folktales they watched or read for homework. What did they have in common? What were some differences? Why do the students thing the folktales were written? (Help them come up with three common purposes for folktales: 1) morality tales to encourage good behavior, 2) creation myths, 3) stories to explain natural phenomena.
Homework Due Next Week:
- Choose an animal for which you will write a folktale similar to one of the Tinga Tinga episodes. What trait of the animal will you explain with your folktale?
Homework Due In Two Weeks:
- Watch Episode 1, Series 1 of the BBC’s Lost Kingdoms of Africa: Nubia.
- Watch Episode 1 of the PBS series Wonders of the African World: Black Kingdoms of the Nile.
- Read from Kids Discover: African Kingdoms magazine: pages 2-5.
- Finish Rick Riordan’s The Red Pyramid.
- Read African Voice: Northern Edition. Make a list of 3 questions that you don’t think most grown ups could answer whose answers can be found in this week’s homework.
- Complete the vocabulary packet (which you can buy from Kids Discover here).
Week 2: Museum of Fine Arts Field Trip
The Museum of Fine Arts in Boston offers these great classes for kids, Artful Adventures. The three-week unit will look at both ancient and modern art from around Africa. Each week, we will spend a forty minutes in the galleries, learning about art from different ancient cultures in Africa. Then we’ll spend an hour in the studio working on painting a Tinga Tinga-style cover for a folktale each student will write.
Homework: Finish the homework assigned last week.
Week 3: Nubia
Activity 1: Kushite Deities and Reading/Writing (10 minutes)
The following two activities will be layed out on the table for students to work on when they come in:
Some of these were the asme as ancient Egyptian deities while others belonged only to Kush. Many of them had the head of an animal on the body of a man or woman. Students will read descriptions of Kushite gods and goddesses and match them to pictures. We got this activity from pages 6 & 7 of Step Back in Time to Ancient Kush.
Kush differed from many ancient cultures in that many people from all strata of life could read and write. Students will read a paragraph about the their writing system, which today is called Meroitic, and will try to find three mistakes in a picture of Kushite children learning to read and write. We got this activity from pages 16 & 17 of Step Back in Time to Ancient Kush.
Activity 2: Artifact Exploration (30 minutes)
In groups of two or three, students will look at pictures we printed from the artifact gallery from the online Nubia collection of the Oriental Institute of the University of Chicago. Each group will have two or three pictures to look at and try to develop ideas about what they were used for and what the culture was like that used them. To guide their exploration, they will fill in a worksheet, which you can see here soon.
Activity 3: Dice Game For Red Pyramid (30 minutes)
We prepared six categories of questions, and laid them out on the table under colored index cards, labeled: 1) True/False, 2) Fill In The Blank, 3) Book Review, 4) Literary Elements, 5) Book-to-Book, and 6) Book-to-Life. Book Review questions ask them to analyze the writing, make predictions, and focus on what makes a book work or not work. Book-to-Book questions ask them to make connections between the book and other books they’ve read. And Book-to-Life questions ask them to make connections between the book and their life. Click here soon for a list of questions. To play, a student rolls the dice to see which type of question to answer. They can decide whether to answer the question themselves or ask everyone else to answer. Again, making it a game somehow makes it fun to have a relatively advanced discussion of literature.
- Watch Episode 3, Series 2 of the BBC’s Lost Kingdoms of Africa: The Berber Kingdom of Morocco.
- Read “The Clever Snake Charmer” in Nelson Mandela’s Favorite African Folktales.
- Complete map worksheet.
- Complete the folktale outline.
Week 4: Berber Kingdom of Morocco
Activity 1: Animals on the Map (25 minutes)
We will describe three types of environments in Africa: Grasslands – dry, inland savannas with short grasses and thorn trees, home to many of the largest and fastest animals; Tropical forests – which are hot, wet, swamps, rivers, and small mountain ranges; Deserts – dry and barren with scrub and grass suitable only for pasture part of the time, where animals can live without water for several days.
Students will take pictures of various animals and try to tape them on a large laminated physical map of Africa. After we get them all in the right places, we’ll talk about how the animals are adapted to those environments. You can find a list of animals used on page 9 of Hands On Heritage Africa Activity Book.
Activity 2: Vocabulary Maps (25 minutes)
Using the vocabulary words from the homework, we will make extensive word webs. We’ll put one word, like conquer, in the middle of a large sheet of newsprint and then see how many more of the words from the vocabulary list we can connect to it. So we might draw a line from conquer to wealth, noting that groups often conquer other groups to gain wealth. Then we could draw a line from wealth to archeologist, noting that an archeologist might find Roman money in Ancient Egypt and conclude that Rome had conquered Egypt. We’ll also draw green lines out from each word and add words that have the same root. So we might add conquistadors and conquest. We’ll draw purple lines from each word to words that are synonyms, like dominate or defeat, and red lines to antonyms like lose to or liberate.
Finally, students will write two sentences that each use three or more words from the board.
Activity 3: Headbanz (30 minutes)
We own the game Hedbanz, and have enough bands for each child. Before class, we’ll prepare cards with the names of kingdoms, fictional characters, and historical figures that we have studied this far. All students put on a head band and place a card in it without looking. The first child begins by asking YES/NO questions in attempt to guess their character before the timer runs out. If they do so, they get a token for the students. If there is still time, they can take another card and ask questions until the time runs out. If time runs out before the player guesses their character, the teacher gets a token and the card remains in the band until Round 2. After every player has a turn, round 1 is over. Play for two rounds and count up the points to see of the teacher or the students with the game.
Activity 4: Eating Out
We’ll head to Baraka Café for a lunch of Tunisian food.
- Episode 2, Series 1 of the BBC’s Lost Kingdoms of Africa: Ethiopia.
- Watch Episode 4 of the PBS series Wonders of the African World: The Holy Land. Read African Voice: Eastern Edition.
- Write intro paragraph to folktale.
- Complete independent project planning project.
- Start reading Trouble in Timbuktu, by Cristina Kessler (due Week 8).
Week 5: Ethiopia
Activity 1: Make a Mancala board (45 minutes)
Among the earliest evidence of the game Mancala are fragments of a pottery board and several rock cuts found in what is now Eritrea and Ethiopia and which are dated by archaeologists to between the 6th and 7th century AD, but many believe that it is much older than that.
Using egg cartons, paint and beans, the students will make a simple mankala board, learn the rules, and play the game. Directions can be found on page 72 of Africa for Kids: Exploring a Vibrant Continent.
Activity 2: Timeline (15 minutes)
We will add important dates from Egyptian, Kush, Berber, and Ethiopian kingdoms to the classroom timeline.
Activity 3: Matching Game (20 minutes)
Before class, we will fill two trashcans with 20 inflated balloons in each. 10 of the balloons will have descriptions written on slips of paper and taped to the balloons. Ten of the balloons will have the names of the cultures, people, or events described on the first ten balloons. Students will form two teams. When I say go, the first person from each team will run to the trash can, pull out a balloon and bring it back to their team. When they tag the next person, that person will go to the can and pull out a balloon. This continues until they find have all twenty balloons. While the team is getting balloons, members who are not running can pull off the slips of paper, and begin matching them to other slips. They will tape the matching slips of paper next to one another on a poster board. The first team to correctly complete their timeline wins.
Activity 4: Eating Out
We’ll head to Asmara for Ethiopian/Eritrean food.
- Watch Episode 1 of the PBS series Wonders of the African World: The Swahili Coast.
- Read the folktales “The Enchanting Song of the Magical Bird” and “The Lion, The Hare, and the Hyena” in Nelson Mandela’s Favorite African Folktales.
- Write draft of folktale.
- Fill in independent project calendar.
- Continue reading Trouble in Timbuktu, by Cristina Kessler (due Week 8).
Week 6: The Swahili Coast
Activity 1: Scrapbook Page (40 minutes)
Before class, we will print out lots of pictures of Swahili coast (animals, buildings, beaches, etc) for scrapbook pages. We‘ll have a ton of scrapbooking materials available and pictures of Tanzania and Kenya. Students can make one or two scrapbook pages that depict aspects of ancient Eastern Africa. We’ll encourage them to write descriptive captions.
Activity 2: Bowl Game (30 minutes)
Before class, we’ll fill a bowl with 20 slips of paper. Each kid pulls out a slip and gives as many verbal clues as needed for the other kids to guess the person, character, kingdom, or event on the slip. Next, we put all of the slips back in the bowl. In round two, when they pull out a slip, they have to act it out with no words. The people and events on the slips:
Activity 4: Salt experiment to get ready for West Africa (20 minutes)
Salt was a highly valuable commodity in the ancient world. It can be mined from seawater that lies in shallow ponds. To see how it works, students will set up the following experiment and take it home to observe it for two weeks:
Each student should fill a small mason jar with hot water and stir in salt, one tablespoon at at time, until the salt will no longer dissolve. Tie one of a string to a nail and the other end to the middle of a pencil. Lay the pencil across the mouth of the jar so that the string hangs down but the nail does not touch the bottom of the jar. They should bring the jars home (they can put a lid on it to get it home and place the string in it once they get it home) and place in a warm place. They should write down an observation every day for two weeks.
Homework (All of this homework is due Week 8):
- Fill out independent study project.
- Read “Sakunaka” in Nelson Mandela’s Favorite African Folktales.
- Fill out salt observation sheet.
- Finish reading Trouble in Timbuktu, by Cristina Kessler.
- Watch Episode 4, Series 1 of the BBC’s Lost Kingdoms of Africa: West Africa.
- Watch Episode 5 of the PBS series Wonders of the African World: The Road to TImbuktu.
- Read from Kids Discover: African Kingdoms magazine: pages 6-13.
- Read The African Voice: Western Edition.
- Read Mansa Musa: The Lion of Mali, Burns picture book.
Week 7: Dance Complex Field Trip
We’re working with an artist in residence at MIT. He is from Senegal, and is from a family of griots. He will lead two workshops on dance, drumming, and storytelling.
Homework: Finish homework assigned last week.
Week 8: West Africa, Part i
Activity 1: Check in on Independent Projects (30 minutes)
Have each student talk about their independent study projects. Other students can ask questions or make suggestions.
Activity 2: Report on Salt Experiments (10 minutes)
Have students share what they observed. How do they think this might have applied to ancient Mali?
Activity 3: Cup of Doom for Road to Timbuktu (50 minutes)
Find an old soccer ball and in each hexagon, write a discussion question with a permanent marker. Have students sit in a circle and tell them that you are going to throw the ball to someone. You will say his or her name before you throw the ball. When the student catches it, he or she has to read and answer whatever question is under the left thumb. After answer the question, students say the name of another student and throw them the ball. Eventually, you can click here to see the questions I wrote on the soccer ball. If students don’t answer a question correctly or well, they have to draw a popsicle stick from the Cup of Doom. Each stick has a different ‘punishment,’ like doing 10 pushups or dancing like a chicken for 30 seconds. (Be prepared for kids to throw the question so that they can pick from the Cup of Doom. They love it!)
- Work on independent study project.
- Revise folktale.
Week 9: MFA2 Field Trip
We will continue our three-week unit at the Museum of Fine Arts.
- Work on independent study project.
- Revise folktale.
Week 10: Dance/Drumming II
- Work on independent study project.
- Start reading Nzingha, Warrior Queen of Angola (Due week 13).
Week 11: Crocodile River Field Trip
Through several interactive activities, students will explore the art and music of two West African kingdoms. They will also explore how West African music has influenced musical styles around the globe.
Homework (Due in two weeks, Week 13):
- Episode 1, Series 2 of the BBC’s Lost Kingdoms of Africa: The Kingdom of Asante.
- Watch Episode 3 of the PBS series Wonders of the African World: The Slave Kingdoms.
- Read from Kids Discover: African Kingdoms magazine: pages 14-15.
- Work on independent study project.
- Make final edits to the folktale.
- Finish reading Nzingha, Warrior Queen of Angola.
Week 12: MFA 3
We will continue our three-week unit at the Museum of Fine Arts.
- Finish homework assigned last week.
Week 13: West Africa, Part II
Activity 1: West African meal with member of the Asante people (20 minutes)
We will make jollof rice and banana cake, from pages 16-17 in Hands-on Heritage Africa Activity Book. It will be ready by the end of class, when we will eat with a member of the Asante people.
Activity 2: Adinkra Stamping (40 minutes)
Working with a local artist, and using traditional adinkra designs from Ghana, we will make our own
stamps to keep, and create a personal cloth, or join together as a group to make a large cloth. We will also use real adinkra stamps
carved from gourds in Ghana.
Activity 3: Skit Charades (30 minutes)
Before class, make a list of 7 or 8 scences from the Nzinga book, write them on slips of paper, and place them in a bowl. Place students in groups of two or three and have one person from each group come up and pull out a slip from the bowl. Then they’ll have five minutes to prepare their charade. Finally, groups will act out the scenes without talking and the rest of the class will guess. There may be time to chose another scene and do it again.
- Watch Episode 3, Series 1 of the BBC’s Lost Kingdoms of Africa: Great Zimbabwe.
- Watch Episode 6 of the PBS series Wonders of the African World: Lost Cities of the South.
- Read from Kids Discover: African Kingdoms magazine: pages 16-17.
- Read The African Voice: Southern Edition.
Week 14: Great Zimbabwe
Activity 1 – Folktales (45 minutes)
In groups of 3 or 4 (with one adult) students will read the folktales they’ve worked on all semester. After each student reads, we will give them warm and cool feedback. For warm feedback they can start with: “I really liked it when…” and “A detail that I really appreciated was _____ because it made me ___________.” For cool feedback they can start with: “I would have liked to hear more about…” and “A detail that was confusing/distracting to me was….”
Activity 2 – Pop Quiz on Great Zimbabwe (15 minutes)
Students will take a “pop quiz” on great Zimbabwe. Then have a discussion about testing, and how it’s just a way to discover what you’ve learned. “What’s the difference between the pop quiz and the bowl game or the soccer ball game?” Eventually, you can click here to see the quiz.
Activity 3: “Bingo” (30 minutes)
We created Bingo-type cards, with the names of: Kingdoms, Characters, People, Geography, and Artifacts & Buildings. I put clues on slips of paper, and pulled them out of a bowl. Students used highlighters to fill in their cards. We played until someone had a bingo. Eventually, you can click here to see the cards and clues.
Homework: Finish independent study projects
Week 15: Presentation/Celebration
Students will set up stations with the work from their independent study as well as other work from the semester of which they are particularly proud. Half the students will stand by their stations while all of the parents, friends, and the other half of the students walk around with clipboards and fill out feedback sheets. At the midway point, we’ll switch the presenters. Eventually, you can click here to see the feedback sheets.
Every family will bring a traditional dish, food, or drink from an ancient or modern African culture or country. We’ll party!
- Watch Episode 2, Series 2 of the BBC’s Lost Kingdoms of Africa: The Zulu Kingdom.
Week 16: Zulu
Activity 1: Review Activities (15 minutes)
Students will complete the review activities in Kids Discover: African Kingdoms magazine: pages 18-19: 1) They fill in a timeline, placing eight kingdoms in the order in which they were in power. 2) They match the kingdoms with something for which they are known. And they do a word search with the names of nine ancient African rulers.
Activity 2: Dolls, Shields, and Spears (50 minutes)
Sotho brides carry a beaded doll, which they name. They then use that name for their first child. The Zulu tribe makes long painted shields covered with goat hide. The spears of Maasai warriors can be used as peace symbols when a black ostrich feather is attached to the tip of the spear with a string of beads.
Students can make a version of either a bridal doll, a shield, or a spear using instructions from pages 26-29 of Hands on Heritage Affrica Activity Handbook.
Activity 3: KWL (25 minutes)
We will revisit our KWL chart from the first day. Were there things we thought we knew that were wrong? Did we learn everything they wanted to learn? What else did they learn? What might they continue to learn about?
If you want to read more about some of the ideas on this page, you may want to read these posts:


SHORT READINGS: 25 MG/YA Short Story/Personal Essay Anthologies
by Lesley Roessing
The Value & Importance of Short Stories
There are a multitude of reasons for including short stories in the curriculum and student reading.
Many readers have not built up reading stamina. When they do read novels, they choose novels below their reading levels, they abandon novels before finishing, or they read Spark Notes, summaries, or find other ways to avoid actually reading. Short stories are, by definition, short. Short stories range in lengths, varying from 1,500 to 10,000 or more words. Therefore, reader stamina can be slowly increased with complete texts, while giving readers a sense of accomplishment because they have finished an entire text.
Short stories also are valuable resources when classes or students are short on time or when students neglect to bring their independent reading books to class.
Short stories provide useful teaching tools. At the beginning of the year, before tackling a class novel, I used short stories to teach or review literary elements, author’s craft, and to teach and apply reading strategies. I would choose a short story based on the element, such as setting, that I wished to highlight in my focus lesson and would also use that short story to focus on a reading strategy. We would then put it all together when reading our whole-class novel.
Short stories can be employed as an introduction to, and practice for, Book Clubs. Teachers can employ Short-Story Clubs to teach and practice Book Club social skills, such as preparing for and holding effective discussions, and for practicing meeting strategies and guidelines before a class embarks on novel book clubs (see Talking Texts: A Teachers’ Guide for Book Clubs across the Curriculum for more on short story and other text clubs). Short-Story Clubs offer the same opportunities as Book Clubs; members of a club can read and discuss a short story over 1-2 meetings and make a short presentation for the class. Advanced readers could read different short stories on the same topic or theme within a Club, comparing and contrasting stories individually read, or each Short-Story Club member could read a different story by the same author and the members could analyze the author’s craft.
The Value of Anthologies
- They introduce students to new authors, most of whom have written YA novels which students might become interested in reading.
- The stories/essays in most of these anthologies are centered around a topic (sports) or theme (prejudice), offering differing perspectives and voices on that topic or theme.
- Anthologies contain stories of various lengths, reading and interest levels, genres, and formats, allowing readers to find one or more stories that match them as readers.
- Anthologies, especially the more current publications, offer culturally-diverse characters and authors as well as an assortment of genres and perspectives.
22 Short Story and 3 Personal Essay Anthologies
Flying Lessons & Other Stories (2017) – Ellen Oh, ed. (with We Need Diverse Books)
These ten stories about family, neighborhood, young love, racism, loss, poverty, sports, compassion, and dreams, written in a variety of genres and representing characters with diverse in ethnicity, race, religions, ability, and sexuality, represent multiple perspectives. The stories were written by popular MG authors Kwame Alexander, Soman Chainani, Matt de la Peña, Tim Federle, Grace Lin, Meg Medina, Walter Dean Myers, Tim Tingle, Jacqueline Woodson, and Kelly Baptist.
Black Enough: Stories of Being Young and Black in America (2019) – Ibi Zoboi, ed.
Zoboi invited “sixteen other Black authors to write about teens examining, rebelling against, embracing, or simply existing within their own ideas of Blackness” (xiii) in a book that invites some adolescents to see their lives and experiences reflected and invites others to experience the lives of their contemporaries. This anthology featured some of my favorite authors—Jason Reynolds, Nic Stone, Tracey Baptiste, Kekla Magoon, while meeting authors new to me, such as Leah Henderson, Dhonielle Clayton, Justina Ireland, and Ibi Zoboi. But even more interesting to me was that my favorite stories in the anthology were the type of plots I don’t usually gravitate to—stories with a bit of a twist. These stories broadened my reading horizons.
Fresh Ink: An Anthology (2019) – Lamar Giles, ed. (with We Need Diverse Books)Twelve new stories—10 prose, 1 graphic story, and a 1-act play (published posthumously by some of the most popular, culturally-diverse, contemporary YA authors, such as Walter Dean Myers, Jason Reynolds, Gene Luen Yang, Nicola Yoon, Daniel Jose Older, and Sharon Flake. These stories present Muslim, Native, LBGTQ, Black, Iranian, Latinx, Filipina, and Japanese characters whose race or gender presents a challenge. Editor Giles states in his Introduction that his hope is, with this book, readers find heroes that looks, thinks, or feels like them and, “if not, …find glimpses into other worlds that are both respectful and enlightening.”
How Beautiful the Ordinary: Twelve Stories of Identity (2009) – Michael Cart, ed.Twelve stories that present modern views of love, sexuality, and gender identification and LGBTQ experience by such authors as David Levithan, Margo Lanagan, Francesca Lia Block, William Sleator. Jacqueline Woodson, Gregory Maguire, Ron Koertge, Emma Donoghue, and Julie Ann Peters.
Open Mic: Riffs on Life Between Cultures in Ten Voices (2013) –Mitali Perkins, ed.
Ten fiction and memoir stories, written in a variety of genre—graphic stories, free verse, and prose—and perspectives—first person and third, about growing up between cultures by authors Mitali Perkins, Varian Johnson, David Yoo, G. Neri, Naomi Shahib Nye, Cherry Cheva, Debbie Rigaud, Olugbemisola Rhuday-Perkovich, Francisco Stork, and Gene Luen Yang.
The Hero Next Door (2019) – Olugbenisola Rhuday-Perkovich, ed. (We Need Diverse Books)
These thirteen MG short stories explore everyday acts of bravery among our families, neighbors, and friends; deeds that make our world a better, kinder place to live. A true multicultural collection, authors include familiar and new (to some readers) names from diverse cultures, such as R.J. Palacio, Linda Sue Park, Hena Khan, Cynthia Leitich, Ellen Oh, Lamar Giles, and Joseph Bruchac, whose stories offer diverse characters and a variety of perspectives.
Unbroken: 13 Stories Starring Disabled Teens (2018) – Marieke Nijkamp, ed.
The protagonists in each of these fictional stories are challenged by a diverse range of disabilities, such vision and ambulation impairment, anxiety, chronic pain, Bi-Polar Disorder, schizophrenia, cerebral palsy, and autism, and are offered different levels of support. This is a true windows-mirrors collection that will invite readers into the worlds of those who navigate life differently, even in different time periods and also feature culturally-diverse characters. As an #OwnVoices collection, all the authors identify as disabled along a physical, mental, or neuro-diverse axis, authors, many new to me, such as Francisco X, Stork, Heidi Heilig, Dhonielle Clayton, Corinne Duyvis, and Kody Keplinger.
Prejudice: A Story Collection (1998) – Daphne Muse, ed.
A collection of short stories about adolescents facing prejudice and ignorance of many types—prejudice about body image, disability, sexuality, gender, race, religion, and class issues. The stories expose the impact of prejudice on adolescents but also how it is possible for prejudice to transform into understanding, giving us hope for the future. The characters are diverse—Latinx, Black, Asian-American, Jewish, LBGTQ, immigrant, and teens with disabilities. The authors of these fifteen stories include such well-known names as Jacqueline Woodson, Flannery O’Connor, Sandra Cisneros, Chris Crutcher, and Mitali Perkins. Even though this anthology is over twenty years old, the stories are still relevant.
Shelf Life: Stories by the Book (2003) – Gary Paulsen, ed.
In his Introduction, author Gary Paulsen states, “Books saved my life. First reading and then writing them.…books are the reason I survived my miserable childhood.” Paulsen tasked ten authors to write stories for this collection, stories that feature books, real or fictious and the young people who are changed by their encounters with books. The stories, which “range from fantasy to farce, from realism to science fiction,” were created by authors such as Margaret Peterson Haddix, Ellen Wittlinger, M.T. Anderson, A, LaFaye, and Joan Bauer.
Necessary Noise: Stories about Our Families as They Really Are (2003) – Michael Cart, ed.
All families are different and can be defined by connections between people not necessarily biologically related. Some children live in ever-changing family structures. Editor Michael Cart invited ten sYA authors, such as Nikki Grimes, Sonya Sones, Walter Dean Myers, and Lois Lowry, to write stories about what “family” means in today’s world.
Going Where I’m Coming From: Memoirs of American Youth (1995) - Anne Mazer, ed.
These fourteen memoirs about immigration and bridging cultures, are set in Watts, Hawaii, New York, Boston, Cleveland, San Antonio, NJ, the Standing Rock Sioux reservation, the San Joaquin Valley, and rural Alabama. These stories of identity and self-discovery were written by such diverse authors as Luis Rodriguez, Ved Mehta, Thylias Moss, Naomi Shihab Nye, Lensey Namioka, and Gary Soto.
Connections (1990) – Donald R. Gallo, ed.
Seventeen stories about connections among teens divided into ‘Encounters,” “Clashes,” “Surprises,” and “Insights,” introducing readers to such authors as Sue Ellen Bridgers, Robin Brancato, Gordon Korman, Ouida Sebestyen, M.E.Kerr, and Judie Angell.
Ultimate Sports (1995) – Donald R. Gallo, ed.
Sixteen original stories about basketball and football, track and cross-country, water sports, racquetball and tennis, boxing and wrestling, featuring both male and female athletes. These stories are not only about the sports, they are about the advantages, such as teamwork, self-esteem, overcoming adversity, and perseverance, as well as the disappointments, competitions, and physical and psychological injuries that can result. Authors include Harry Mazer, Norma Fox Mazer, Carl Deuker, Will Weaver, Todd Strasser, and sports reporter Robert Lipsyte.
First Crossing: Stories about Teen Immigrants (2007) – Donald Gallo, ed.
From 1994 to 2017, the population of immigrant children in the United States grew by 51 percent, to 19.6 million, or one-quarter of all U.S. children. The ten fictional stories in this collection describe teen immigrants navigating not only the typical challenges of adolescence but also a new country and will provide a mirror and map for immigrant readers and help other readers gain insights into the lives of some of their peers. The diverse group of authors include Minfong Ho, Jean Davies Okimoto, Dian Curtis Regan, and Pam Munoz Ryan.
What Are You Afraid Of?: Stories about Phobias – Donald R. Gallo, ed.
A phobia is not just a fear but an extreme or irrational fear of or aversion to something, a debilitating anxiety. Eleven authors, including Joan Bauer, Alex Flinn, Neil Shusterman, Nancy Springer, Angela Johnson, and David Lubar, present ten stories about agoraphobia, claustrophobia, and intense fears of clowns, sharp knives, crossing streets, string, and public speaking and how their characters deal with these phobias.
No Easy Answers: Short Stories about Teenagers Making Tough Choices (1999) – Donald R. Gallo, Ed
Daily, adolescents face moral dilemmas and have tough choices to make and, when doing so, will face consequences—positive or negative. Some decisions affect their current lives and some will affect their futures. Sixteen YA authors, such as Will Weaver, M.E. Kerr, Gloria Miklowitz, Graham Salisbury, Virginia Euwer Wolff, Jack Gantos, and Walter Dean Myers, have contributed stories about teens dealing with such crises as peer pressure, unplanned pregnancy, drug us, gang violence—problems to which there are no easy answers.
Owning It; Stories about Teens with Disabilities (2008) – Donald R. Gallo, ed.
Ten original short stories about physical and psychological disabilities, such as ADD, Tourette’s Syndrome, alcoholism, blindness, obesity, asthma, brain damage, and cancer, written by such authors as Chris Crutcher, David Lubar, Kathleen Jeffrie Johnson, Gail Giles, and Robert Lipsyte.
Visions: 19 Short Stories (1988) – Donald R. Gallo, ed.
Nineteen original short stories about the joys and sorrows of teens, including romance, family divorce, death and loss, written by such authors as Fran Arrick, Joan Aiken, Cin Forshay-Lunsford, Jane Yolen, and Lensey Namioka.
Join In: Multiethnic Short Stories by Outstanding Writers for Young Adults (1993) – Donald R. Gallo, ed.
Seventeen original short stories about connections and confrontations, friendships, identity, prejudice, expectations by such authors as Rita Williams Garcia, Linda Crew, Minfong Ho, Gloria Gonzalez, Julius Lester, and Danny Romero.
Twelve Shots: Outstanding Short Stories about Guns (1997) – Harry Mazer, ed
Twelve stories featuring the world of guns and how they different adolescents in divergent paces and situations, written by such authors as Walter Dean Myers, Richard Peck, Chris Lynch, Frederick Bush, and Rita Williams-Garcia.
Visions of Fantasy: Tales from the Masters (1989) – Isaac Asimov aand Martin H. Greenberg, eds
According to editor Asimov, “Fantasy is an story that isn’t true, and can’t be.” This collection will introduce adolescent readers to fantasy or to acquaint fantasy-readers to a variety of popular fantasy authors. The twelve stories feature witches, princes, dragons, victims, and evil forces and were written by such writers as Ray Bradbury, Madeleine L’Engle, Jane Yolen, Bruce Coville, and Isaac Asimov.
Hope Nation: YA Authors Shares Personal Moments of Inspiration (2018) – Rose Brock, ed.
Contemporary adolescents are dealing with a variety of issues and feelings of powerlessness in a complex world that sometimes feels hopeless. Twenty-four YA authors speak to teens through poetry, essays, and letters of hope in this nonfiction, rather than short story, collection. They inspire readers by sharing difficult childhoods and obstacles and experiences they overcame. Readers will appreciate the personal stories of authors of their favorite novels, such as David Levithan, Julie Murphy, Angie Thomas, Nic Stone, Libba Bray, Nicola Yoon, Jason Reynolds, and I.W.Gregorio.
Nevertheless, We Persisted: 48 Voices of Defiance, Strength, and Courage (2018) - Amy Klobuchar, ed.
A collection of personal stories from actors, activists, athletes, politicians, musicians, writers, and teens who share stories of facing challenges and adversity, and even hatred, because of their race, gender, or sexual identity—but, nevertheless, persisted through these obstacles to achieve success in their fields and lives. These are stories of resilience that will resonate with some readers, enlighten others, and inspire all. Some of the contributors that teen readers will meet are teen activist Gavin Grimm, actor Maulik Pancholy, fashion model Jillian
and chef Maneet Chauhan, While most entires are essays or personal narratives, some are creatively written in such formats as a graphic story, a script, a conversation, and an interview.
You Too?: 25 Voices Share Their #MeToo Stories (2020) – Janet Gurtler, ed.
Teens should realize that no young person—female or male—should be subject to sexual assault, or made to feel unsafe, less than, or degraded. Twenty-five YA authors share personal stories of physical and verbal abuse, harassment, and assault—from strangers, acquaintances, and family members. Included in this volume are stories of trial, loss, shame, and resilience and, most important, acknowledging self-worth. These essays illustrate to adolescent readers that there is no “right” way to deal with trauma; each survivor has to find their own way of processing and surviving trauma. This book will not only provide a mirror, sometimes unexpectedly, for some readers and a window for others, helping to build empathy, but will offer a map for many readers. This is a book that needs to be read and discussed by young women and men and the adults in their lives. Some familiar authors of diverse cultures who share their experiences are Eileen Hopkins, Cheryl Rainfield, Patty Blout, Ronni Davis, Nicholas DiDomizio, Andrea L. Rogers, and Lulabel Seitz.
The Creativity Project: An Awesometastic Story Collection (2018) – Colby Sharp, ed.
Every story starts with an inspiration—a picture, an object, a news article, a scene, a memory, the list can be endless. One of the most creative collections I have read, this Project celebrates not only stories, but story seeds. Editor and teacher Colby Sharp tasked 44 well-known and beloved authors with creating story prompts for each other, and the resulting short prose stories, graphic stories, poems, and illustrations can, in turn, be employed as mentor writings and prompts. Contributors include Grace Lin, Tracey Baptiste, R.J. Palacio, Kate DiCamillo, Lemony Snicket, Naolmi Shihab Nye, Sherman Alexie, Linda Sue Park, Jewell Parker Rhodes, and Kate Messner. This book will be a treasure for teachers of reading and writing and will entice even the most reluctant readers.
Lesley is the author of Bridging the Gap: Reading Critically & Writing Meaningfully to Get to the Core; Comma Quest: The Rules They Followed. The Sentences They Saved; No More “Us” & “Them: Classroom Lessons and Activities to Promote Peer Respect; The Write to Read: Response Journals That Increase Comprehension; the recently-published Talking Texts: A Teachers’ Guide to Book Clubs across the Curriculum and has contributed chapters to Young Adult Literature in a Digital World: Textual Engagement though Visual Literacy and Queer Adolescent Literature as a Complement to the English Language Arts Curriculum, and the upcoming Story Frames. She served as past editor of Connections, the award-winning journal of the Georgia Council of Teachers of English and, as columnist for AMLE Magazine, shared before, during, and after-reading response strategies across the curriculum through ten “Writing to Learn” columns.


By Deborah Klens-Bigman, Ph.D.
Principles & Concepts
Techniques & Training Methods
Etiquette & Customs
Iaido is the contemporary Japanese art of drawing the long sword. Iaido
contrasts with kenjutsu (combative swordsmanship), techniques done with
swords already drawn, and kendo, the Japanese sport of fencing. Basic
iaido kata combines drawing the sword with either a defensive block or
cut, usually followed by another cut, then chiburi (moving the blade in
such as way as to remove blood and tissue) and noto (returning the blade
to the scabbard). While kenjutsu and sword-drawing techniques (batto-ho)
were originally taught together, they are now usually, but not always,
taught as separate art forms. Iaido, as the sword-drawing forms became
known in the 1930's, is now used not only to teach sword techniques, but
as a form of mental and physical discipline, emphasizing correct technique
and form, meditation and character development.
Iaido training consists of solo kata (forms) and partner forms, called
kumidachi. All forms emphasize etiquette in the respectful handling of
the sword. The solo forms consist of properly drawing, cutting and returning
the sword to the scabbard. Kumidachi forms are performed using bokuto
Iaido Principles & Concepts
While both batto-ho and kenjutsu were taught before 1600, sword techniques
became more popular after this date, reflecting the change in the role
of samurai from soldier during Japan's civil conflicts to members of the
ruling class. Samurai wore daisho (lit. "large-small"), a katana
(long sword) and a wakizashi (short sword), thrust through the obi (belt
or sash) as a symbol of membership in this class (firearms were relegated
to infantry). Drawing the sword became more important at this time since
duels were common to keep the peace and settle personal grudges or other
Iaido has been characterized as a defensive art form, owing to the fact
that practitioners begin and end kata with the sword in its sheath. Beginning
and middle-level kata do emphasize reacting to, rather than provoking,
an attack, but higher-ranking forms are often more aggressive, drawing
the sword and pushing through a crowd to cut down an unaware opponent,
The Meiji (post feudal period from 1863-1912) government dismantled the
shogunal class system (feudal class system) and banned the wearing of
swords after 1868. Former members of the samurai class continued to practice
sword techniques but the emphasis shifted from dueling to self-discipline
and character-building. Iaido techniques were organized into beginning,
middle level and advanced sets, and became affiliated with concepts common
to other Japanese traditional arts, including elegance, simplicity, jo-ha-kyu,
shu-ha-ri, zanshin, in-yo (yin-yang) koshi, ma-ai, and the use of kata
as the principal means of training.
Zanshin is the sense of lingering awareness. Iaido kata foster the development
of awareness in solo kata by encouraging the student to visualize the
opponent. In kumidachi, students learn zanshin in patterns of attack,
defense and counterattack. While mushin ("no mind") has been
considered an esoteric outcome of iaido practice, zanshin is more practical
and more realistically attainable.
Ma-ai refers to the critical distance between opponents, a point at which
forces are essentially neutral, but where anything can happen. Fundamental
to ma-ai is ma, roughly defined as the way something (or someone) moves
through space over time. Many teachers have stated that ma "cannot
be taught," either one has this sense of timing, or one does not.
However, ma can be enhanced and developed through training. An iaidoka
(a student of iaido) who has a good, well-developed sense of ma has an
uncanny sense of time and distance. Combined with a sense of zanshin,
it is the difference between a merely competent practitioner and a great
As in other traditional martial art forms, the ma-ai of iaido embodies
the concept of the sphere of protection, but in this case the circle is
extended by the use of the sword. The sphere is realized by sword cuts
in eight directions: straight down, horizontally (from both the left and
the right), diagonally down and up on left and right sides, and the thrust.
Many kenjutsu and some iaido dojo practice the different cuts in arranged
sequences, called happogiri (simply, "eight direction cuts").
Iaido also shares with other traditional art forms the sense of jo-ha-kyu.
This is a formalistic organizing principle, which has been variously interpreted
as "slow, medium, fast" and "beginning, middle, end."
It is characterized by a sense of rising action; for example, from an
initial draw and small cut (or parry), to the larger, "killing cut."
Individual actions which make up a given kata also have this sense of
In-yo (or yin-yang) is the unity or complementary of opposites. Individual
iaido kata contain many instances of in-yo. The most obvious may be that
in all iaido kata, the sword is drawn, then returned to the sheath. More
philosophically, in-yo can be seen in that, as a deadly art form, iaido
is a contemplation of life and death.
Shu-ha-ri is often used to describe a student's progression through training.
"Shu" means "conservative" and is often translated
as "tradition." The beginning student learns the fundamentals
of the art form, and all the techniques and kata, essentially as her teacher
has shown her. "Ha" means "break" and has been variously
interpreted in Western martial art circles as "breaking the tradition"
or even "breaking with your teacher." However, it could also
mean breaking as in "breakthrough in understanding", i.e., going
beyond the mechanics of the techniques to discover their underlying meaning.
"Ri," therefore, which has been interpreted in the West as "founding
your own style," or even "preserving the style but adding to
it," means "freedom" and could instead be interpreted as
"owning the kata," establishing one's own identity within the
traditionally arranged and performed techniques. Iaido at this point becomes
very like free-flowing movement. Few practitioners attain this level,
though it remains a goal of training, however elusive.
Iaido Techniques & Training Methods
Though only samurai men traditionally practiced long sword, men and women
from all walks of life around the world now study iaido. There is no difference
in the standard of training for men and women.
Currently, the most practiced styles of iaido are the Muso Shinden Ryu
and the Muso Jikiden Eishin Ryu, presumed to be branches of the original
style of batto jutsu founded by Hayashizaki Jinsuke Shigenobu (Taylor
and Ohmi 1997: 83). Both styles contain three sets of kata: a beginner's
set, a middle level set and oku (secret) forms for high-level students.
The names of the sets are the same for both styles, though the names of
the individual forms have been changed.
The beginner's set, the Omori Ryu, consists of twelve kata, eleven beginning
from the kneeling position called seiza, and one starting from a standing
position. These forms acquaint students with the basics of properly drawing,
cutting, and sheathing the sword. The kneeling position provides the student
with a stable base, building strength and control in the lower body.
The middle set, Hasegawa Eishin Ryu, consists of ten kata, nine originating
with the practitioner sitting in tatehiza, a position with one knee raised,
and the tenth in seiza. The imaginary opponents in these forms are in
much closer proximity to the student than in the first set, requiring
close-in stabbing and cutting movements. The footwork is more intricate,
featuring weight shifts, sliding back and forth along the floor on the
knees, and stepping towards and away from the imaginary opponent. The
high-level set, called Okuiai (secret iai) consists of both standing and
tatehiza forms. Kata at this level looks surprisingly simple--like natural
movement, but the simplicity is deceptive; a student may study for 10
years or longer before beginning to comprehend and technically be able
to handle these forms. Throughout iaido training, emphasis is placed on
mindfulness, a sense of calm concentration, and the building of character.
In addition, the All Japan Kendo Federation has developed kata drawn
from various styles, called the Zenkenrenmei or Seiteigata forms. Affiliated
kendo federations around the world practice these forms and hold standard
ranking examinations for them. The popularity of practicing these forms
varies among kendo players. For example, in Eastern Canada and the US,
there is a great deal of interest in Zenkenrenmei; whereas in parts of
Japan, it seems less important.
Various kendo organizations have sponsored forms competition in iaido,
and competition for ranking in Zenkenrenmei is intense in some US kendo
dojos. In these cases, there may sometimes be a distinction between men's
and women's competition, as there is in modern kendo. However, iaido remains
mostly a noncompetitive martial art, with a relatively small number of
practitioners, in which mindfulness through proper technique remains the
goal of practice.
Iaido Etiquette & Customs
Iaido practice is framed by respect and politeness. There is a great
deal of etiquette with regard to Japanese swords in general, and, though
it is simplified in the iaido dojo, the rationale is essentially the same:
to prevent damage to the sword, to prevent injury to the iaidoka using
the sword, and to prevent injury to others in the room, whether fellow
practitioners or bystanders.
Practitioners therefore are expected to be properly dressed in well-fitting
hakama (traditional Japanese pleated trousers), obi (belt or sash) and
keikogi (training uniform), with a minimum of skin showing at the neck.
They are expected to exercise self-control in language and action. Losing
one's temper in an iaido dojo usually amounts to immediate expulsion,
owing to the potentially deadly nature of the art form.
As in most traditional dojo, the organization is hierarchical, with the
highest levels of respect paid to seniors and teachers. Seniors, in turn,
have an obligation to instruct junior students in all aspects of iaido,
including dress and deportment as well as technique.
The etiquette and hierarchical structure of an iaido dojo is perhaps
best illustrated in the sequence of bows performed before and after training.
At the beginning of class, the first bow is directed towards a specifically
designated area, variously the kamidama (Shinto or spirit altar), kamiza
(upper seat: a postion of honor or respect which is often the front wall
of a dojo where there are scrolls, a Shinto alter and/or photos of a teacher
or founder), and shinzen (Spiritual center; another name for kamiza).
A mixture of Shinto, Buddhism and ancestor worship has traditionally guided
many Japanese martial practices. Iaido, as a more conservative art form,
still retains a vestige of these practices even outside Japan, though
the extent of the religious connotation of bowing to the shinzen varies.
At the very least, the opening bow connotes the specialness of practice,
respect for the practice space, and an acknowledgment of teachers who
have gone before (practitioners also bow at the entrance of the training
room upon entering or leaving for the same reasons). Next, students and
teacher bow to each other as a sign of respect, and lastly, the practitioners'
swords are presented and bowed to before practice begins. At the end of
practice, the bowing ritual takes place in reverse: sword, teacher/student
Students also bow to each other before and after kumidachi practice.
Outside of showing mutual respect, the bow signifies that students are
prepared and ready for partner practice, and are not being taken unawares.
Iaido Practice Clothing/Uniforms
All participants wear the same style of practice clothing and follow
the same curriculum. The uniform consists of keikogi (a loose-fitting
top), hakama (wide-legged, pleated trousers), and an obi (belt). Depending
on the style, the uniform may be white, dark blue or black. Higher-ranking
practitioners may wear formal kimono (traditional Japanese dress worn
by both men and women), obi and hakama for public demonstrations. Except
for optional knee pads, no protective gear is worn, or considered necessary.
Iaito, unsharpened practice swords, are mostly used, though some practitioners
use shinken (real swords) with the permission of their teachers. Shinken
can be modern, steel blades or antiques, depending on the resources of
the practitioner. In any case, the blades and fittings must be sound enough
to withstand the rigors of practice.
Like other modern "do" (meaning "way," or "path,"
a term denoting a spiritual path followed by students of a discipline)
forms, rankings exist, though progress through the ranks is slower than
in some other martial arts. In the US, there are informal kyu levels (non-ranked),
followed by dan (black belt) rankings. For muso Shinden ryu, in general,
it takes three years of consistent practice to reach first dan, simply
meaning the student understands the Omori Ryu set of forms. There is no
distinction made between men and women testing for rank. Teaching on a
formal level ideally does not take place until fifth dan or higher, meaning
perhaps twenty years or more of study, and deeply understanding all three
sets of forms. Since women did not study iaido in significant numbers
until the 1970's, most of the senior teachers are men. As in many other
Japanese art forms, however, women are becoming increasingly visible as
students and teachers. In the US, iaido has only become more popular in
the past 10 years, so most women are still beginner and intermediate students.
Iaido Training Facilities
Generally speaking, iaido is practiced indoors. Special requirements
for iaido are similar to those for kendo: a wooden floor, ideally a sprung
floor to protect the practitioners' joints, a high ceiling, and enough
space to permit practitioners to train freely with swords without interfering
with one another. Space may be borrowed, rented or owned, depending on
availability and the finances of the dojo.
Currently, the most practiced styles of iaido are the Muso Shinden Ryu
and the Muso Jikiden Eishin Ryu, presumed to be branches of the original
style of batto jutsu founded by Hayashizaki (Taylor and Ohmi 1997: 83).
Currently in Japan, however, there are over 400 schools (Ryu) of iaijutsu
and iaido, though the majority of these are quite small. (Alexanian, 2000,
Iaido originated in the katana (long sword) techniques of the samurai
of Japan, which were codified beginning around 1390. When the Tokugawa
Shogunate (1603-1867) unified the country after a long period of civil
conflict, edicts were issued to transform the samurai from warriors to
refined individuals, able to serve in the government. Skills included
martial arts, reading, writing, administration, and finer arts, like calligraphy
and painting (Warner and Draeger 1982: 14, 38).
Peace changed the reasons for martial study. Hayashizaki Jinsuke Shigenobu
(1546?-1621) is considered the legendary founder of iaido for not only
codifying a system of batto jutsu (sword-drawing techniques), which he
called Shimmei Muso Ryu, but also for promulgating the idea that practicing
sword forms with meditative intent could make one a better person, and
benefit society thereby. (The well-known connection between Zen and the
martial arts had previously been established as far back as the 14th century.)
(Warner and Draeger 1982: 79-81).
Following the Tokugawa Shogunate, the Meiji Restoration (1868-1911) saw
"sportification" of combative sword forms (kenjutsu) into kendo,
still widely practiced today by both men and women in Japan and throughout
the world (Draeger and Smith 1980: 101-102). Meanwhile the batto jutsu
forms evolved from Hayashizaki through successive headmasters, who introduced
more philosophical refinements. The term "iaido," meaning, essentially,
"way of presence in the moment," was first used to describe
the sword-drawing art in 1932 (Draeger and Warner 1982: 79, 96).
Alexanian, Michael 2000 "Tamiya ryu iaijutsu" www.shakunage.org,
Draeger, Donn F. and Smith, Robert W.1980 Comprehensive Asian Fighting
Arts. Tokyo: Kodansha International.
Taylor, Kimberly and Ohmi, Goyo 1997 "The Omori ryu: a history and
explanation." Journal of Asian Martial Arts Vol. 6, No. 1. pp. 80-103.
Warner, Gordon and Draeger, Donn F. 1982 Japanese Swordsmanship: Technique
and Practice. New York and Tokyo: Weatherhill.
About the author:
Deborah Klens-Bigman is Manager and Associate Instructor of iaido at
New York Budokai in New York City. She has also studied, to varying extents,
kendo, jodo (short staff), kyudo (archery) and naginata (halberd). She
received her Ph.D in 1995 from New York University's Department of Performance
Studies where she wrote her dissertation on Japanese classical dance (Nihon
Buyo). and she continues to study Nihon Buyo with Fujima Nishiki at the
Ichifuji-kai Dance Association. Her article on the application of performance
theory to Japanese martial arts appeared in the Journal of Asian Martial
Arts in the summer of 1999. She is married to artist Vernon Bigman.