A Midnight Cry

The Underground
Railroad to Freedom
Sponsored by:
January 9 - February 7, 2014
Enrichment Guide
Proud Cornerstone member of:
This program is supported in part by a grant from the
Milwaukee Arts Board and the Wisconsin Arts Board with
funds from the state of Wisconsin.
Inside the Guide
Setting the Stage
A Note to Teachers and Parents
preparing for the play
Synopsis . . . . . . . . . . . . . . . . . . . . 5–6
About the Playwright. . . . . . . . . . . . . 5
About the Composer. . . . . . . . . . . . . 5
About the Arranger . . . . . . . . . . . . . . 5
Recommended Reading. . . . . . . . . . 8
Pre-Show Questions. . . . . . . . . . . . . 8
A Midnight Cry
For Teachers
Enclosed in this enrichment guide is a range of materials and activities intended to help you
discover connections within the play through the curricula. It is our hope that you will use the
experience of attending the theater and seeing A MIDNIGHT CRY with your students as a
teaching tool. As educators and parents, you know best the needs and abilities of your students. Use this guide to best serve your children—pick and choose, or adapt, any of these
suggestions for discussions or activities. We encourage you to take advantage of the enclosed
student worksheets— please feel free to photocopy the sheets for your students, or the entire
guide for the benefit of other teachers.
Curriculum connections
before or after the play
Connecting To Your
Curriculum. . . . . . . . . . . . . . . . 3
Notes from First Stage’s
Dramaturge . . . . . . . . . . . . . . . 4
Social Studies
Escaping to Freedom—
The Story of Henry “Box” Brown. . . . 9
Defining Human Rights . . . . . . . . . . 14
Dear Teachers and Parents,
First Stage produced the world premiere of A MIDNIGHT CRY nine seasons ago, in our 20042005 season. A story of a young girl's journey to freedom through the underground railroad,
inspired by the true story of Caroline Quarlls’, who passed through Milwaukee, WI on her way
to Canada. This moving historical drama brings to life a vital part of our nation’s history.
Enjoy the show!
Music
Coded Communication—
Mapping Songs. . . . . . . . . . . . . 10–11
Art
Quilt Codes of the
Underground Railroad. . . . . . . . 12–13
Julia Magnasco
Education Director
(414) 267-2971
Julia@firststage.org
Math
Challenges Along the Way: Word
Problems. . . . . . . . . . . . . . . . . . . . . 15
First Stage Policies
Curtain Call
Post-Show Questions . . . . . . . . . . . 16
Who Said It? . . . . . . . . . . . . . . . . . . 16
Who Said it? (ANSWERS) . . . . . . . . 17
• The use of recording equipment and cameras are not permitted during
the performance.
• Food, drink, candy and gum are not permitted during the performance.
• Electronic devices are not permitted in the theater space.
• Should a student become ill, suffer an injury or have another problem, please
escort him or her out of the theater space.
• In the unlikely event of a general emergency, the theater lights will go on
and the stage manager will come on stage to inform the audience of the problem.
Remain in your seats, visually locate the nearest exit and wait for the stage manager to guide your group from the theater.
Seating for people with special needs: If you have special seating needs for any
student(s) and did not indicate your need when you ordered your tickets, please call
our Assistant Patron Services Manager at (414) 267-2962. Our knowledge of your
needs will enable us to serve you better upon your arrival to the theater.
Connecting To Your Curriculum
Below is a list of the Common Core Standards, 21st Century Skills and Wisconsin Model Academic Standards addressed
in the activities throughout THE BEST CHRISTMAS PAGEANT EVER Enrichment Guide.
Common Core State Standards—
English Language Arts
CCSS.ELA-Literacy.RL.3.3 Describe characters in a story
(e.g., their traits, motivations, or feelings) and explain how
their actions contribute to the sequence of events.
CCSS.ELA-Literacy.RL.5.4 Determine the meaning of
words and phrases as they are used in a text, including
figurative language such as metaphors and similes.
CCSS.ELA-Literacy.SL.5.5 Include multimedia components (e.g., graphics, sound) and visual displays in presentations when appropriate to enhance the development
of main ideas or themes.
CCSS.ELA-Literacy.RI.3.3 Describe the relationship
between a series of historical events, scientific ideas
or concepts, or steps in technical procedures in a text,
using language that pertains to time, sequence, and
cause/effect.
CCSS.ELA-Literacy.RI.3.7 Use information gained from
illustrations (e.g., maps, photographs) and the words in
a text to demonstrate understanding of the text (e.g.,
where, when, why, and how key events occur).
Wisconsin Model Academic Standards—
Social Studies/History
B.4.1 Identify and examine various sources of information
that are used for constructing an understanding of the
past, such as artifacts, documents, letters, diaries,
maps, textbooks, photos, paintings, architecture, oral
presentations, graphs, and charts.
CCSS.ELA-Literacy.SL.3.1 Engage effectively in a range of
collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 3 topics and texts,
building on others’ ideas and expressing their own clearly
B.4.3 Examine biographies, stories, narratives, and folk
tales to understand the lives of ordinary and extraordinary
people, place them in time and context, and explain their
relationship to important historical events.
CCSS.ELA-Literacy.RL.4.7 Make connections between
the text of a story or drama and a visual or oral presentation of the text, identifying where each version reflects
specific descriptions and directions in the text.
B.4.4 Compare and contrast changes in contemporary life
with life in the past by looking at social, economic, political,
and cultural roles played by individuals and groups.
B.4.5 Identify the historical background and meaning of
important political values such as freedom, democracy,
and justice.
CCSS.ELA-Literacy.RI.4.3 Explain events, procedures,
ideas, or concepts in a historical, scientific, or technical
text, including what happened and why, based on specific information in the text.
B.8.1 Interpret the past using a variety of sources, such
as biographies, diaries, journals, artifacts, eyewitness
interviews, and other primary source materials, and
evaluate the credibility of sources used.
CCSS.ELA-Literacy.RI.4.7 Interpret information presented
visually, orally, or quantitatively (e.g., in charts, graphs,
diagrams, time lines, animations, or interactive elements
on Web pages) and explain how the information contributes to an understanding of the text in which it appears.
B.8.3 Describe the relationships between and among
significant events, such as the causes and consequences
of wars in United States and world history
CCSS.ELA-Literacy.SL.4.2 Paraphrase portions of a text
read aloud or information presented in diverse media and
formats, including visually, quantitatively, and orally.
B.8.5 Use historical evidence to determine and support
a position about important political values, such as
freedom, democracy, equality, or justice, and express the
position coherently
CCSS.ELA-Literacy.RL.5.2 Determine a theme of a story,
drama, or poem from details in the text, including how
characters in a story or drama respond to challenges or
how the speaker in a poem reflects upon a topic; summarize the text.
21ST CENTURY SKILLS
Collaboration and Communication
Critical Thinking and Problem Solving
Creativity and Innovation
Leadership and Responsibility
3
Notes from First Stage’s Dramaturge
Mrs. Caroline Quarlls Watkins, Milwaukee, WI and the Underground Railroad
During the late 1800’s, Milwaukee was a station on the Underground Railroad (1800’s – 1865), a network of abolitionists
who conducted clandestine activity to provide opportunities for Americans forced into labor to find freedom in the “Free
States” in US and in Canada.
From an article printed by Northwest Quarterly: “According to the Milton Historical Society, early settlers in Wisconsin
came primarily from New England and New York, and brought with them their abolitionist views. Wisconsin’s first
abolitionist society and anti-slavery newspaper were both established before the territory became a state in 1848.
“In Southeastern Wisconsin, underground railroad activities began around 1840. Racine and Milwaukee were destinations
for escaped slaves and embarkation points for travel north by ship. After the escape of the slave Joshua Glover, Wisconsin
became the only state in the Union before the Civil War to declare the Fugitive Slave Law of 1850 unconstitutional and
unenforceable.”
In 1842, a sixteen year old Caroline Quarlls Watkins escaped from a
plantation in St Louis, MO and traveled by stage coach to Milwaukee where
she was befriended by Whites and free African Americans who hid “runaways” in their homes, businesses, churches and even on the Milwaukee
River. As the child of her white owner and African/Native American mother,
Mrs. Watkins was able to “hide in plain-site” because she was very light in
complexion and had blue eyes.
Mrs. Quarlls Watkins’ skills as a seamstress made her very valuable to her
owners. A reward of $300 was offered for her capture and her image was
engraved on wanted posters. This meant she had to truly go into hiding.
Once in Milwaukee, Atty. Asa Finch provided cover and funds for Caroline
Quarlls for escape to Canada. “Lawyer Finch,” is one of the founders of
Milwaukee law firm, Foley and Lardner, LLC. The incident is documented in
the firm’s historical documents.
Wisconsin has the distinction of a record of the first documented person
who traveled via the Underground Railroad. That person is Mrs. Caroline
Quarlls Watkins!
Sources include:
http://www.burlingtonhistory.org/caroline_quarlls_1842_journey_on.htm
http://www.wisconsinhistory.org/dictionary/index.asp?action=view&term_id=10452&term_type_id=1&term_type_text=People
http://www.burlingtonhistory.org/Dyer%20
Life%20&%20Times.htm
http://images.library.wisc.edu/WI/EFacs/wipionexp/Goodnow2e/reference/wi.goodnow2e.i0001.pdf
http://northwestchicagoland.northwestquarterly.com/2011/01/local-ties-to-the-underground-railroad/
4
Setting the Stage Synopsis
In shadowy darkness, voices are heard cautiously speaking about
sounds. The woman’s asks, “Who’s there?” She approaches a
shadowy figure and asks if there is any message from someone
who has been away a long time. The figure says nothing, tosses
a package and quickly leaves. One of the men with her takes the
package and carefully opens it. It is book.
He says give it to the second man, Uncle
Eli. He tells them to keep a look out,
opens the book and begins to read.
questions. The men are reluctant to speak about freedom, but
finally they do.
When Mama sees them, she admonishes the men, reminding
them that they family had been split apart because of their son
As he reads, Eli discovers the book
is called A MIDNIGHT CRY by Lida
Anderson. Mama and Papa rejoice
to learn Lida is no longer a slave
and has written a book about her
life. As Uncle reads the account the
story comes to life as Lida appears
and takes over the narration.
Suddenly, Lida and her family are
on a plantation. It is mid-day and,
the spiritual Up Above My Head is
heard as the overseers Bullard and
Jessup angrily bark out orders to
men, women and children working
in the field. Lida speaks to the audience, describing the hardship of plantation life and while dreaming of freedom. Others join her agreeing, Freedom
is possible!
Later that evening, Uncle Eli quietly teaches Lida to read. As she
sounds out letters, Uncle Eli explains how important it is to learn
to read and write. He then gives her a book from Master Halston’s
library. Lida then describes to the audience how it felt to read
her first word, “The.” Such a small word, but an important word
because she read it by herself. Eli leaves feeling joy for Lida.
Just then little sister Keeley sneaks up on Lida, snatches the book
and runs with it. Keeley teases Lida until she promises to teach
her how to read. The two hear Papa and Uncle Eli approaching
and hide. They overhear the men taking about runaways, living’
in the woods and free-states. Excitedly, Lida runs to them with
Pre-Show and Post-Show Workshops
Enhance your field trip experience with a pre-show or post-show workshop that takes place directly in your
classroom. Students will have an opportunity to actively explore the themes in A MIDNIGHT CRY, such as
courage and determination, perseverance, and justice and equality. This deep and enriching experience
will allow students to prepare and reflect appropriately on this historical drama.
5
Setting the Stage Synopsis
trying to escape. She tells them about hearing the midnight cry
of a baby being sold at auction, “A sound you never forget.” As
Mama speaks time shifts and it is day. Keeley is playing when
Bullard grabs her and begins rubbing a dark paste on her skin so
she will “fetch a good price.” Keeley begins to scream, “Please
don’t sell me away.” As this happens, Lida has been working with
a knife and is ready to defend her sister. She runs toward the
men with the knife and cuts Bullard. Eli attends to his wound as
Jessup rings the bell to call Master Halston.
Lida believes she could hide better there. Rev. Nelson agrees to
help her go ahead to Milwaukee.
Halston calls for a doctor and prepares to take Keeley. Mama
begs for mercy but Halston ignores her cries. Keeley is sold. Lida
explains the pain of witnessing this tragic event and that she never
saw her baby sister again. Her mother’s heart broken, she was
never the same. Jessup then punishes Lida for attacking him by
whipping her as the spiritual My Soul Wants Something That’s
New is sung.
The next morning they all go to Lawyer Fitches to arrange Lida’s
Freedom. Fitch tells Lida she will need to change her name. She
will no longer be Lida, but Millicent or Elizabeth or Lydia. She
stays on to work for him. She goes to the kitchen to bring him a
slice of pie when Bullard walks into the office. Fitch tries to warn
her when Bullard catches on. Fitch grabs Bullard while calling to
her, “Run to Joshua’s.”
The next day Mama and Lida fold clothes. As they work Lida asks
Mama about the conversation she overheard between Papa and
Uncle Eli about ‘free-states.” Mama warns her about the dangers
of such talk and admonishes her for thinking so harshly of Papa.
Papa did run for freedom, was caught and almost beaten to
death as an example to the rest. Mama seeing the determination
in Lida’s eyes decides to speak with Uncle Eli about “free-states
and running away.”
The spiritual Didn’t My Lord Deliver Daniel is heard as this perilous
leg of Lida's journey plays out in Milwaukee. Joshua hides Lida
in a barrel and floats her on the Milwaukee River. Suffering from
claustrophobia, Lida keeps herself calm by remembering her family, especially Keeley. The next day Joshua, Hannah and Fitch find
Lida safely in the barrel, floating on the Milwaukee River. Bullard
arrives to demand Lida at gunpoint. The three pretend to give in
as they huddle around Lida--- who escapes!
As they speak, Uncle Eli, Papa and Lida make preparation for her
“run.” They teach her of lessons on how to read nature as a map
(stars, plants, river current) and share secrets of the Underground
Railroad, a system of good people who help runaway slaves.
Suddenly, they hear footsteps and return to their work. It’s
Bullard. He demands Lida come with him. Papa, Lida and Bullard
struggle until Master Halston appears and asks what is going on.
As Mama begins to speak, Halston stops her and tells Bullard to
meet him at the house. When they exit, Papa and Eli hurry to get
Lida ready to run!
At this point in the story, Uncle Eli, Mama and Papa reappear
with the book. They beg Eli to tell them how Lida escaped. Eli
reads how a Mr. Lyman rowed his boat next to the barrel and Lida
climbed onboard. He continues to read about her journey further
north. Lida takes over the narration, describing how it feels to be
free. Sending them a message in the book that she wants her
family to join her in Freedom!
Lida describes the next leg of her journey and the kind souls on
the Underground railroad that assists her while Bullard was always
a few steps behind her. They arrive in Milwaukee to the home of
Joshua and Hannah, who welcome the exhausted Lida. Hannah
prepares Lida’s bed and sings a lullaby. Lida describes what it
feels like to sleep on a mattress for the first time.
As darkness covers them, all say goodbye to Lida. As she disappears on her run to freedom, Halston and Bullard appear with
dogs. Uncle Eli gets their attention and draws them in the opposite direction of Lida. Lida then describes how she looked back
and saw Uncle Eli being attacked by the slave catchers and dogs.
She knows he endured the torture to help her. She also hears
Bullard offering $200 in reward for her return.
Not long into her journey, Lida meets her first conductor on the
Underground Railroad at the door of a cabin. His name is Rev.
Nelson. He gives her fresh clothes, food and instructions. She will
take a riverboat north and he teaches her how to follow a map.
She hides in a buggy until her next opportunity to run.
They travel to a church where she meets a Mrs. Williams, the
church caretaker. They break open a collection box and give the
money to Lida. Rev. Nelson tells Lida they will go to Platteville,
WI but Lida tells him that she wants to go to another place called
Milwaukee. She says the town is bigger and has more people.
6
About the Playwright: James DeVita
James DeVita a native of Long Island, New York, is an author and playwright, and an actor. Along with his two novels, The
Silenced and Blue, he has also written more than twenty plays and adaptations of classics for young audiences and adults.
DeVita is the resident playwright for First Stage. His adaptation of Felix Salten's novel, BAMBI, A LIFE IN THE WOODS, won
The Distinguished Play Award from The American Alliance of Theater and Education; Rose of Treason was awarded The
Intellectual Freedom Award by the Kentucky Council of Teachers of English/Language Arts; and Looking Glass Land won
the Shubert Fendrich Memorial Playwriting Contest. Jim is also a recipient of the National Endowment for the Arts Literature
Fellowship for Fiction, and The American Alliance of Theater and Education has just honored his body of work with the 2007
Charlotte B. Chorpenning Award. His plays include: A MIDNIGHT CRY (The story of the Underground Railroad); ROSE OF
TREASON (The true story of Sophie Scholl and The White Rose); TRIALS: THE STORY OF JOAN OF ARC, AND BETH; A
LITTLE HOUSE CHRISTMAS , THE PRINCE AND THE PAUPER.
Taken directly from: http://www.imdb.com/name/nm2508937/bio?ref_=nm_ov_bio_sm
About the Composer: Josh Schmidt
Josh Schmidt, a native of Mequon, WI and is an award-winning composer ADD1NG MACH1N3 (Lucille Lortel Award - Best
Musical; Outer Critic’s Circle Award - Best Score & Best Off-Broadway Musical; Joseph Jefferson Award - Best Musical; as
well as 4 Obie Awards, 9 Drama Desk nominations, and Drama League nomination for Best Musical), ADD1NG MACH1N3
was also heralded as one of the ten best events of 2008 in the New York Times, Wall Street Journal, Time Out NY and
Chicago Tribune. Recent credits include A MINISTER’S WIFE (Lincoln Center Theatre; Writer’s Theatre – Best Musical Jeff
Award), WHIDA PERU (Primary Stages/59E59) and GIFT OF THE MAGI (American Players). Incidental scores include WHEN
THE RAIN STOPS FALLING (Lincoln Center), FIFTY WORDS (MCC), WORKS AND PROCESS (Guggenheim Museum), and
MUSIC FROM ALMOST YESTERDAY (Barrow Street). Josh’s sound composer/designer Broadway & Off-Broadway credits
include HOUSE OF BLUE LEAVES, BRIGHTON BEACH MEMOIRS (with Fitz Patton), CRIME AND PUNISHMENT (59E59).
He has composed/designed for Steppenwolf Theatre Company, South Coast Rep, Stratford Festival, The Kennedy Center,
Seattle Rep, Cleveland Playhouse, Ford’s Theatre, Alley Theatre, and Milwaukee Rep. Josh is a 2012 Sundance Theatre Lab
UCross artist, and a recipient of the American Musical Voices Project honoree grant and Graduate of the Decade Award
(UW-Milwaukee). He is a graduate of the University of Wisconsin-Milwaukee and is a guest lecturer at Harvard, Suffolk,
University of Mississippi-Oxford, Illinois-Urbana/Champaign and UW-Madison.
Taken directly from: http://www.rnh.com/bio/2745/Schmidt-Joshua
About the Arranger:
Sheri Williams Pannell
Sheri Williams Pannell is from Milwaukee and made her debut at First Stage as Sojourner Truth in A WOMAN CALLED
TRUTH and has appeared in A MIDNIGHT CRY, SMOLDERING FIRES, THE WIZ, HOLES, PERSEUS BAYOU, ONE
HUNDRED DRESSES and CLICK, CLACK, MOO and directed the productions TO THE PROMISED LAND, MUFARO’S
BEAUTIFUL DAUGHTERS and THE WATSON’S GO TO BIRMINGHAM: 1963 at First Stage. Additional directing credits
include A BROTHER’S GOODBYE Milwaukee Chamber Theater, AIN'T MISBEHAVIN’ Skylight Opera, SPITFIRE GRILL
Old Lyric, IN DARFUR United Nations/UW Madison, YELLOWMAN University Theater, MERRY WIDOW University Opera,
MOST VALUABLE PLAYER, ONCE ON THIS ISLAND, HMS PINAFORE and JUNGLE BOOK Children’s Theater of Madison.
Her original plays include THE CARE PACKAGE, HARLEM NOCTURNE and MISS WILLIAMS Milwaukee Rep Education
Department; AN EVENING AT CHEZ BRICKTOP’S and WITH HAND AND HEART Milwaukee Art Museum and BABY
DEAREST African American Children’s Theater. She has performed with Florentine Opera, Milwaukee Rep, InTandem, Skylight
Music Theater, Old Lyric and the Children’s Theater of Madison. She is an Education Department Lead Educator at First Stage
and dramaturg for New Play Development. Sheri is a graduate of Spelman College and holds a MFA in Theater and Drama
from the University of Wisconsin – Madison.
7
Recommended Reading
Caroline Quarlls and the Underground Railroad by
Julia Pferdehirt
Moses: When Harriet Tubman Led Her People to
Freedom by Carole Boston Weatherford and Kadir
Nelson
Freedom Train North: Stories of the Underground
Railroad in Wisconsin by Julia Pferdehirt
The Patchwork Path: A Quilt Map to Freedom by
Bettye Stroud and Erin Susanne Bennett
Unspoken: A Story From the Underground Railroad
by Henry Cole
Henry's Freedom Box: A True Story from the
Underground Railroad by Ellen Levine and Kadir Nelson
North by Night: A Story of the Underground Railroad
by Katherine Ayres
Sweet Clara and the Freedom Quilt by Deborah
Hopkinson
The Story of Harriet Tubman: Conductor of the
Underground Railroad by Kate McMullan
The Drinking Gourd: A Story of the Underground
Railroad by F. N. Monjo and Fred Brenne
Dear Austin: Letters from the Underground Railroad
by Elvira Woodruff and Nancy Carpenter
Pre-Show Questions
1. What is the Underground Railroad? Can you name any prominent figures from the Underground Railroad?
2. Could you ever imagine wanting something so badly you would risk your life for it? If so, what would that be and
why would it be worth risking everything?
3. What does it mean to be a hero? Identify every day heroes in your life and community—what makes these people heroic, and how do their words and actions inspire you?
4. What are human rights? Discuss this with your family or classmates? What are rights and freedoms every
human deserves to have? Research the Universal Declaration of Human Rights, and identify what you and your
family can do today to ensure all humans are granted basic rights.
8
Escaping to Freedom—The Story of Henry “Box” Brown
Social Studies Classroom Activity
Adapted from: http://education.miami.edu/legacyproject/documents/HenrysFreedomBox.pdf, http://www.vahistorical.org/collections-and-resources/virginia-history-explorer/resurrection-henry-box-brown
Picture by Samuel Rowse reprinted from Virginia Historical Society
Henry Brown was a young boy when he escaped from slavery in 1849. Brown had himself shipped to
freedom in a crate as railroad freight. He traveled from Richmond, Virginia, all the way to Philadelphia,
where he adopted the name Henry “box” Brown.
The picture entitled, “The Resurrection of Henry Box Brown at Philadelphia,” was drawn by Samuel
Rowse in 1850. The words on the picture say: “The Resurrection of Henry Box Brown at Philadelphia
who escaped from Richmond, Va. in a box 3 ft. long, 2 1⁄2 ft. deep and 2 ft. wide.”
Activity
1. Have students map the freight train journey from Richmond, VA to Philadelphia, PA and identify how many miles
between these two cities.
2. Using yarn or masking tape, map out on the floor the dimensions of the box in which Henry Box Brown traveled. Allow
students to discuss the immediate and longer-term challenges of traveling a far distance in a box this size. Discuss
the precautions Henry must have took before setting on his journey to freedom. Continue by discussing the cost of
freedom—what freedoms do we have, and to what lengths would we go to secure those freedoms if they were ever
away from us.
3.Looking at the picture, allow students to share what they think Henry’s first words were after the box was opened and
he discovered he was finally free. From here, allow groups to work alone or in pairs to come up with dialogue for the
scene depicted in the picture.
a.Students must explore and research who the characters are in the picture, how they found Henry’s box, what their
immediate reactions were, and perhaps what was the next thing to happen in this scene.
b.If time permits, allow students to share their scenes through a Reader’s Theatre activity.
9
Coded Communication—Mapping Songs
Social Studies/Music Classroom Activity
Information from: http://ctl.du.edu/spirituals/freedom/coded.cfm, http://www.artsmartindiana.org/resources/ugrr.php, http://www.safepassageohio.org/resources/weblesson.pdf
Communication and secrecy were both vital to successfully bringing fugitive slaves to freedom. There were no
telephones, and there wasn’t access to telegraphs. Fugitive slaves and members of the Underground Railroad
created codes in songs, letters, even the way quilts were hung outside on clotheslines had a coded meaning. Coded
communication was crucial to the successful operation of the Underground Railroad Secrecy.
Many spirituals sung by slaves seemed to be praising God, but they actually held secret messages that helped enslaved
escape to freedom. Signal songs shared information of a certain event about to take place, such as a planned escape
from a plantation. Map songs used the lyrics to direct people to specific points along the Underground Railroad. One of
the most famous map songs was “Follow the Drinking Gourd,” which uses a gourd to make reference to the Big Dipper
and the North Star, serving as a compass guiding north.
Activity
Listen to the song “Follow the Drinking Gourd,” while reading along to the lyrics:
http://www.youtube.com/watch?v=pw6N_eTZP2U.
When the sun comes back and the first quail calls, Follow the Drinking Gourd.
For the old man is awaiting for to carry you to freedom, If you follow the Drinking Gourd.
Chorus:
Follow the Drinking Gourd,
Follow the Drinking Gourd,
For the old man is awaiting to carry you to freedom If you follow the Drinking Gourd.
The river bank makes a very good road, The dead trees will show you the way, Left foot, peg foot,
travelling on, Follow the Drinking Gourd.
(Chorus)
The river ends between two hills, Follow the Drinking Gourd.
There’s another river on the other side, Follow the Drinking Gourd.
(Chorus)
Where the great big river meets the little river, Follow the Drinking Gourd.
For the old man is awaiting to carry you to freedom If you Follow the Drinking Gourd.
10
Coded Communication—Mapping Songs (Cont.)
Social Studies/Music Classroom Activity
Information from: http://ctl.du.edu/spirituals/freedom/coded.cfm, http://www.artsmartindiana.org/resources/ugrr.php, http://www.safepassageohio.org/resources/weblesson.pdf
Afterwards, share the list of code phrases with your class. Ask them to identify the coded phrases in the song “Follow the
Drinking Gourd.” Using a map, see if you can identify specific places of importance mentioned in the code song. Then,
listen to the song again, noting these coded phrases.
Code Phrase list taken from: http://www.northern-stars.com/Follow_theDrinking_Gourd.pdf.
The wind blows from the South today — A warning that slave bounty hunters were nearby.
A friend with friends — A password used to signal arrival of fugitives with an Underground
Railroad conductor.
A friend of a friend sent me — A password used by fugitives traveling alone to indicate they were
sent by the Underground Railroad network.
When the sun comes back and the first quail calls — Early spring, a particular time of year
good for escaping.
The river bank makes a mighty good road — A reminder that tracking dogs could not follow the
scent of fugitives through the water.
The dead trees will show you the way — A reminder that moss grows on the north side of dead
trees, so if the North Star were not visible, they would know which way to walk.
Left foot, peg foot — A visual clue for escapees led by an Underground Railroad worker famous
for his wooden leg.
The river ends between two hills — The Tombigbee River in Mississippi.
When the great big river meets the little river — The Ohio River and its tributaries.
Steal away, steal away, steal away to Jesus — Used to alert other slaves that an escape attempt
was anticipated.
11
Quilt Codes of the Underground Railroad
Social Studies/Art Classroom Activity
Taken from: http://page.reallygoodstuff.com/pdfs/154227.pdf
Notes from the Dramaturge
I have taken time to review resources in my own library and search on line resources (PBS, National Geographic and other
outlets that utilize the services of credible historians), and there seems to be a lot of controversy about the use of quilts and
the Underground Railroad.
The problem for the historians is the lack of substantiation from multiple primary sources such as first hand accounts in
the Slave Narratives. Only a few families have passed down the quilt stories. Also, the quilt patterns are considered very
elaborate. They question whether a slave woman would have taken the time to create such a quilt and devise such a complicated scheme.
Those historians who defend the quilt theory assert that the quilts (as one book title states) were hidden in plain view, therefore
the meaning of the quilts would be kept a secret. This secret is why there is so little corroboration for the quilt story. As for
the skills and time to make a quilt and devise a scheme, I am of the belief that desperate time calls for desperate measures.
This is why the run-away slaves endured claustrophobic conditions such as boxes, cellars and barrels to escape to freedom.
As for skills, these were the same women who made ball gowns and fancy table linens for the mistresses.
We offer the information to the youth and their teachers, with the understanding that the quilt story has been challenged by
some historians, but for other historians it is fact. For lay-persons, the quilt story is a source of inspiration.
Secret codes on the Underground Railroad were used in letters, songs…and even quilts. Many slaves
did not read, because it was illegal to teach them how to read. Quilts served as maps that guided
slaves on their journey North to freedom. Sampler quilts used specific blocks arranged in order of
the code, and these patterns gave slaves information on how to prepare for their escape, what to and
where to go on their trip.
Quilt Patterns and their Meanings
Monkey Wrench
This meant the slaves were to gather all the tools they might need on the journey to freedom. Tools meant:
something with which to build shelters, compasses for determining direction, or tools to serve as weapons
for defending themselves.
Wagon Wheel
This was the second pattern to be displayed, which signaled the slaves to pack all the things that would go
in a wagon or that would be used during their journey. This was a signal for the slaves to think about what
essentials they needed to survive the trip.
Bear’s Paw
It’s believed that this pattern was sometimes used to help fugitives follow the path of the bear, and to identify
landmarks on the edge of the plantation.
Crossroads
Once through the mountains, slaves were to travel to the crossroads. The main crossroad was Cleveland,
Ohio. Any quilt hung before this one would have given directions to Ohio.
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Quilt Codes of the Underground Railroad
Social Studies/Art Classroom Activity
Taken from: http://page.reallygoodstuff.com/pdfs/154227.pdf
Log Cabin
This pattern was used to let the slaves know where safe houses were. People who helped the Underground
Railroad may have identified themselves as friends to slaves on the run by tracing this pattern in dirt as a signal. This quilt told slaves to look for this symbol on their journey to freedom. It was also a symbol to set up a
“home” in a free state.
Bow Ties
Slaves’ clothes were often tattered and easy to spot. This pattern meant that someone would bring the slave
nice clothes to help them blend in with the free blacks.
Flying Geese
This pattern told the slaves to follow migrating geese north towards Canada and to freedom. This pattern
was used as directions as well as the best season for slaves to escape. Geese fly north in the spring and
summer. Flying geese pointed to the direction, north, for the slaves to move. Also, geese would have to stop
at waterways along their journey in order to rest and eat. Slaves were to take their cues on direction, timing
and behavior from the migrating geese.
Drunkard’s Path
This was a clear warning for the slaves to move in a staggering fashion so as to elude any following slave
hunters. It was suggested that slaves even double back to elude their pursuers.
North Star (Evening Star/Star)
This instructed the slaves to follow the North Star to Canada and to freedom.
Tumbling Blocks (Boxes)
This signaled to the slaves—by the number
of boxes and knots—the time to “box up” all
one’s belongings in preparation to escape.
Activity
Using the site: http://page.reallygoodstuff.com/
pdfs/154227.pdf, print out quilt pattern templates
for students. Share the quilt square codes and
instruct students to create quilt squares with hidden
meanings. Remind them that colors, patterns, textures, “stitches” and “knots” (drawn on with a fine
line marker), can each indicate a coded symbol.
Tape or glue students’ individual squares together
to form a code.
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Defining Human Rights
Social Studies Classroom Activity
Taken directly from: http://www1.umn.edu/humanrts/edumat/hreduseries/hereandnow/Part-3/Activity1.htm. A Publication of the Human Rights Educators' Network of Amnesty International USA, the Human Rights
Resource Center, and the Stanley Foundation. Copyright 1998.
Activity
1. Ask students sitting in a circle to think of a quality about themselves that they consider a good quality. Using a talking
stick or simply speaking in turns, ask each to describe that quality briefly.
2. If students have difficulty generating qualities about themselves, ask "What are some qualities we admire in people?"
and write a list of responses on the board. Have each student pick one that is true for her or him.
a.Ask some of these questions:
• Do you respect in others the quality you like about yourself?
• Do you respect good qualities in others that you do not have?
• Do all human beings deserve respect? Why?
• How do you show respect for others?
3. Ask students if they can remember a time when they felt hurt because someone did not respect them.
• Did someone say something insulting or hurtful to you?
• Why do people sometimes say bad things to each other?
• What is dignity? Is your dignity hurt when others do not respect you? How does it feel to you?
4. Ask the group how human beings differ from other living creatures. Emphasize that human beings communicate with
words, not just sounds, and that they decide many things about their lives.
5. Write the words "HUMAN" and "RIGHTS" at the top of chart paper or a board. Below the word "human" draw a circle
or the outline of a human being.
a.Ask students to brainstorm what qualities define a human being and write the words or symbols inside the outline.
For example, "intelligence," "sympathy."
6. Next ask students what they think is needed in order to protect, enhance, and fully develop these qualities of a human
being. List their answers outside the circle. For example, "education," "friendship," "loving family."
7. Ask "What does it mean if we say that all human beings deserve respect because they all have human dignity?"
8. Explain that everything inside the circle relates to human dignity, the wholeness of being human. Everything written
around the outline represents what is necessary to human dignity. Human rights are based on these necessities.
a.Explain that after a terrible war, World War II, all the countries of the world agreed in 1948 on a document that
said the world would be more peaceful if everyone respected the dignity of every human being. These words are
contained in the Universal Declaration of Human Rights.
9. Read these sentences from the Universal Declaration of Human Rights and explain that this document sets the
standard for how human beings should behave towards one another so that everyone’s human dignity is respected:
…recognition of the inherent dignity and of the equal and inalienable rights of all members of the human family is
the foundation of the freedom, justice, and peace in the world…
All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience
and should act towards one another in a spirit of brotherhood.
10.Ask students to think of one example of how life in their community could be more peaceful if people showed greater
respect for each other.
11. Have students work in pairs or alone to illustrate one way they could show respect to someone. Share these ideas with
the rest of the class.
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Challenges Along the Way: Word Problems
Math Classroom Activity
Taken from: http://www.thirteen.org/edonline/lessons/whoami/b.html
Slaves faced a number of challenges when trying to escape to freedom. Oftentimes, there were many
slaves in a particular location with a scarce amount of food. It was necessary to ration it so that each person would receive a fair amount. Read the word problems below and answer the questions. Make sure to
show your work.
1. A group of three slaves staying at the same station along the Underground Railroad are given nine
pieces of dried pork. How many piece of pork does each person receive?
2. Four slaves on the Underground Railroad receive twelve boiled potatoes from a group of supportive
stockholders. How many potatoes does each person get?
3. A group of ten escaping slaves are given ten apples. How many apples does each person receive?
4. Seven slaves traveling on the Underground Railroad, attempting to escape to freedom, receive
fourteen yams. How many yams does each person get?
5. A large group of sixteen runaway slaves received only eight biscuits. How could they divide the
biscuits evenly?
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WHO SAID IT?
1. A MIDNIGHT CRY. Tha’s the name of the book.
2. Don’t let me catch you readin’.
3. Can’t no one stop a body from rememberin’.
4. Please don’t sell me away.
5. Uncle Eli know about these tings. We talk to Uncle Eli.
6. Ain’t no real railroad. We just call it that.
7. You live girl. You be free n’ live.
8. Two hundred dollar reward.
9. Change my name—I couldn’t think what to call myself.
10.All the men and women in our state are free.
11. She I Freedom.
Post-Show Questions
1. Uncle Eli was willing to risk his life to help Lida gain freedom. What does the word freedom mean to you?
2. When Lida gained her freedom she had to think of a new name for herself. If you could rename yourself, what
would you like be called? Why?
3. Throughout the play, music called African American Spirituals is used to support the storytelling and create the
mood. What type of music would you use to tell your story? How does this music support the story of your life?
4.Our protagonist Lida writes an autobiography and titles it A MIDNIGHT CRY by Lida Anderson. If you were to write
your autobiography, what would the title be?
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WHO SAID IT? ANSWERS
1. A MIDNIGHT CRY. Tha’s the name of the book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Uncle Eli
2. Don’t let me catch you readin’.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bullard
3. Can’t no one stop a body from rememberin’.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Lida
4. Please don’t sell me away.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Keeley
5. Uncle Eli know about these tings. We talk to Uncle Eli.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6. Ain’t no real railroad. We just call it that.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mama
Uncle Eli
7. You live girl. You be free n’ live. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mama
8. Two hundred dollar reward.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bullard
9. Change my name—I couldn’t think what to call myself . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10.All the men and women in our state are free. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lawyer
11. She I Freedom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17
Lida
Fitch
Uncle Eli