Ahimsa Center- K-12 Teacher Institute
Title of Lesson: Freedom Songs: The role of song in nonviolent mass movements.
Lesson By: Tisha Donnelly
Grade Level/ Subject Areas:
Highschool English Language
Arts, Social Studies,
Performing Arts
Class Size:
Can be modified for any class
size
Time/Duration of Lesson:
95 minutes, can be extended to
several days with activities
Guiding Questions:
 What role does song play in a mass movement for freedom?
 How does song unify a large group of people in a shared cause?
 How does song teach about the movement to its individuals?
Lesson Abstract: (50-75 words)
This lesson focuses on the role of song within mass movements for social reform. Students will learn
that song can unify large quantities of people through interactive singing; educate, clarify, and
reinforce the values and goals of the movement through customized lyrics; as well as strengthen and
encourage nonviolent protestors as they face hardship. Songs used by Gandhi, King, and Chavez are
represented within cultural and socio-political context then connected to current musical social
commentary.
Lesson Content:
“These songs bound us together, gave us courage together, helped us march together.”
- Martin Luther King, Jr.
Throughout the freedom struggles of the 20th century, song played a role in unifying mass movements
and expressing their needs and hopes. Song continues to reflect the frustrations, challenges,
disappointments, and dreams of society. The relationship between art and struggle is complicated. As
tensions and frustrations build, it is frequently the artist that is able to represent those who feel
voiceless and powerless. While in the midst of suffering, hardship, and inequity, it is difficult to
imagine change. Artists are uniquely able to paint the picture- or compose the song- of that possible
future. As Denise Levertov stated in “Making Peace”:
A voice from the dark called out,
"The poets must give us
imagination of peace, to oust the intense, familiar
imagination of disaster. Peace, not only
the absence of war." (lines 1-5)
Song allows that vision to become a shared experience; thereby, unifying large groups of people in
support of a common cause.
Song has the ability to express latent feelings of dissatisfaction and strife, making the unstated
tangible. King felt it was necessary to dramatize and make apparent the underlying tension that existed
in the South. Through traditional congregational songs adapted to reflect the racial inequities and
goals for freedom these feelings were shared, the ideas crystallized, and the human struggle was made
apparent and understandable to others. It is crucial to remember the scope of these movements.
Gandhi led millions in South Africa and hundreds of millions in India; the Civil Rights movement of
1955-68 and the United Farm Workers movement also involved millions of nonviolent protesters.
Music became the metaphor for these struggles, creating a feeling of belonging to something bigger
when sung together.
Mohandas Gandhi used devotional song during the morning and evening prayer sessions at the
ashrams, communal training centers for nonviolent satyagrahi (followers of the truth or spiritual
warriors). As related by his grandson, Rajmohan Gandhi: “The presence of the newcomers
underscored the need for multi-faith prayers and prayer songs” to unite the varied community (p. 133).
The struggle for freedom in South Africa and in India attracted conscientious supporters from many
religions, cultures, and classes. Devotional songs, such as “Vaishnava Janato,” helped educate,
emphasize, and remind followers of the most fundamental tenets of Gandhi’s philosophies. Service to
others, or an awareness and concern for universal well-being (sarvodaya) is captured in the following
lyric from one of Gandhi’s favorite devotional songs:
“He alone can be called a vaishnava (devotee of God) who knows the Other’s
pain.” (Kahiye)
Gandhi’s use of congregational, or group, singing of prayers, was based on his understanding of the
social nature of human beings. “As social beings they have a need, even the obligation, to pray in a
social setting…As a social activity, it involved music” (Parel, p.1). Music was seen by Gandhi as a
“natural ally of prayer” and a “means of spiritual development” (Parel, p.2). He collected popular and
secular music from many cultures to be used in the ashrams resulting in the Bhajanawali, a book of
over 200 songs. Song was an integral part of nonviolence training and the search for truth; through
devotional songs Gandhi believed our thoughts are cleansed and otherwise unavailable spiritual energy
is released. Gandhi’s ashrams used song to unify individuals from different backgrounds and harness
their energy toward a common goal of social change.
Song also served to unify individuals from a shared history behind a common cause. As a grassroots
movement, many of the civil rights demonstrations began through mass meetings held in churches.
Lead by community leaders and songleaders, leadership passed from person to person intuitively,
much like congregational singing. Meetings consisted of shared songs intermingled with ideas.
Congregational songs were adapted to reflect the issues at hand and some like “We Shall Overcome”
and “This Little Light of Mine” became anthems of the struggle. These anthems evolved in many
stages; their simple lyrics and refrains allowed continuous alteration to fit the needs of the moment.
“We shall overcome.
We shall overcome.
We shall overcome someday.
Oh, deep in my heart, I do believe
We shall overcome someday.”
This traditional congregational song was adapted to “We are not afraid, we are not afraid today” as
needed by a young girl locked in a dark room in Montgomery, Alabama (Reagon, p. 109). The history
behind the songs emphasized the justice of their desire for freedom. The nonviolent army sang the
songs of their enslaved ancestors because they felt themselves to be oppressed as well.
John Lewis, a leader of the student sit-ins in Nashville, Tennessee, expressed his views that the
marches were supported by singing: “The song represented the coming together, you really felt it--it
was like you were part of the crusade…You felt uplifted and involved in a great battle and a great
struggle” (Reagon, p. 107). In his autobiography, King mentions moments of despair while in a jail
cell in Albany, during which his spirits were lifted by hearing the singing of his fellow demonstrators.
“Through music, the Negro is able to dip down into the wells of a deeply pessimistic situation
and danger-fraught circumstances and to bring forth a marvelous, sparkling, fluid optimism”
(Carson, p. 178).
Despair, anger, and aggression could be transformed through communal, or congregational, singing.
Energy was creatively redirected through song. Lyrics inspired people and joined voices generated
feelings of communal strength and companionship.
Like the freedom struggles in South Africa, India and throughout the southern United States, the
United Farm Workers movement used traditional songs to unify its members. These folk songs were
adapted for the El Teatro Campesino meetings. “Lyrics were either assigned new meaning as protest
songs or were changed to reflect the farm workers' struggles and accomplishments, alongside the
emergence of a Chicano consciousness” (Ragland, p. 489). The UFW movement leaders used art to
bring in members and strengthen commitment. El Teatro Campesino involved farmers in amateur
theatrical productions. Through music and plays written specifically about their struggles members
were allowed to constructively express their feelings of dissatisfaction. Cofounder of this theatrical
institution, Agustin Lira, wrote songs which spoke of the struggle for improved work and living
conditions as well as the desire for better education. Songs such as "Llegando a los Files" (Arriving at
the fields) and "Yo no le Tengo Miedo a Nada" (I'm not afraid of anything) also indicated the
willingness to use mass nonviolent action to bring about social change. Despite the frustration
expressed in the Campesino songs, there is a feeling of empowerment and community solidarity
imbued in each.
In order to accomplish social change it is necessary to unify, motivate, and educate large quantities of
people. Unfortunately, strife causes division. Music is a tool of nonviolent social reform, a natural
companion to boycotts, marches, sit-ins and any other form of social noncooperation. Freedom songs
educated not only the participants in mass movements, but also educated the community about the
issues, needs, and consequences of systemic injustice.
California State Standards:
3.0
Students read and respond to historically or culturally significant works of literature that reflect
and enhance their studies of history and social science. They conduct in-depth analyses of recurrent
patterns and themes.
3.2
Compare and contrast the presentation of a similar theme or topic across genres to explain how
the selection of genre shapes the theme or topic.
3.5
Compare works that express a universal theme and provide evidence to support the ideas
expressed in each work.
Materials Needed:
 Digital story: “Freedom Songs: The role of song in freedom struggles”
 Computer
 LCD Projector (preferred) or DVD player and TV
 CD player
 Handouts: “Thematic Song Presentation,” “Freedom Song Lyrics,” “Song Analysis: Reading
Beneath the Surface”
Suggested Teaching Activities:
1. If used for one class: Handout the “Freedom Song Lyrics” handout and view the digital story with
your class.
Ask students to share out what they feel the role of songs were in the various freedom struggles based
on their own knowledge and the digital story.
Divide students into 7 groups and assign each group a freedom song to analyze. Students should
discuss how the song reflects the struggles and hopes of the movement supporting their statements
with specific lyrics. Each group will read their lyrics and share their analysis with the class.
2. If extended for several classes: Listen to and analyze one song a day from the digital story using
the accompanying handout. Hold a class discussion based on some of the following questions:
Who was the piece written for?
What was the purpose of the piece?
What topic or concern of the era does the piece represent?
What does the piece reveal about the artist and the artist’s viewpoint? Do
you agree with this viewpoint?
What does the piece say about what life was like in the past?
What questions does this piece raise? How can you find answers?
(discussion questions excerpted from: Lyrical Legacies, Library of Congress)
3. If extended over multiple weeks: Begin with either activity 1 or 2. Use “Thematic Song
Presentation” and “Song Analysis: Reading Beneath the Surface” handouts. (Please adapt the
Thematic handout to suit your curriculum.) Present a song. In my case, after teaching West Side Story
and Romeo and Juliet, I will introduce my students to the themes of To Kill a Mockingbird through
“Strange Fruit”.
Students are assigned the task of finding a song that represents an act of, or reaction to, injustice. They
will sign up to present their songs and thematic analysis to the class.
Bibliography:
Carson, Clayborne. Autobiography of MartinLuther King, Jr. New York. Grand Central Publishing,
1998.
Gandhi, Rajmohan. Gandhi: the man, his people, and the empire. Berkeley. University of California
Press, 2008.
Levertov, Denise. “Making Peace.”
Parel, Anthony J. “Gandhi as a Man of Prayer.” 2001.
Cathy Ragland. "Rolas de Aztlán: Songs of the Chicano Movement (review)." Journal of American
Folklore 121.482 (2008): 489-490. Project MUSE. [Library name], [City], [State abbreviation]. 9 Jul.
2009 <http://muse.jhu.edu/>.
Reagon, Bernice Johnson. “Let the Church Sing Freedom.” Black Music Research Journal, vol. 7,
(1987): 105-118. Chicago. University of Illinois Press, 1987.
Vaisnava Jan To Tene Kahiye
http://www.gandhiserve.org/information/music_online/Vaishnav_text/Vaishnav_text.html accessed
07/15/09.
Appendices:
1. “Freedom Song Lyrics”
2. “Song Analysis: Reading Beneath the Surface”
3. “Thematic Song Presentation”
Freedom Song Lyrics
(for use with “Freedom Songs: The role of song in freedom struggles”)
“Revolution”
By: The Beatles
(Lennon/McCartney)
You say you want a revolution
Well you know
We all want to change the world
You tell me that it's evolution
Well you know
We all want to change the world
But when you talk about destruction
Don't you know you can count me out
Don't you know it's gonna be alright
Alright Alright
You say you got a real solution
Well you know
We'd all love to see the plan
You ask me for a contribution
Well you know
We're doing what we can
But when you want money for people with minds
that hate
All I can tell you is brother you have to wait
Don't you know it's gonna be alright
Alright Alright
You say you'll change the constitution
Well you know
We all want to change your head
You tell me it's the institution
Well you know
You better free your mind instead
But if you go carrying pictures of Chairman Mao
You ain't going to make it with anyone anyhow
Don't you know know it's gonna be alright
Alright Alright
“Freedom Songs: The role of song in freedom struggles”
Page 6
Freedom struggles of South Africa and India:
Using nonviolent methods, Gandhi led millions of oppressed people in South Africa and India in their struggles for
freedom. Using devotional songs from a wide array of religions he unified people formerly separated by culture and
religion into one “army.” Devotional songs were used in his ashrams to reinforce the most fundamental concepts of their
movement.
“Vaishnava Janato”
By Tene Kahiye
Hindi:
Vaishnav Janato tene kahiye
Jay peerh paraaye janneyray
Par dukkhey upkar karey teeyey, man abhiman na anney ray
Sakal lokma Sahuney bandhey,
Ninda Na karye kainee ray
Baach kaachh, Man nischal Raakhey, dhan-dhan jananee tainee ray
Samdrishi nay trishna tyagee, par-stree jaynay mat ray
Vivihva thaki asatya na bolay, par-dhan nav jhaley haath ray
Moh maaya vyaayey nahin Jeynay, dridth vairagya jana manma ray
Ram-nam-shoom taalee laagee,
Sakal teerth seyna tanma ray
Vanloohee nay kapat rahit chhay,
Kaam, Krodh nivarya ray
Bhane Narsinhyo tainoo darshan karta kul ekotair taarya re.
English:
Speak only as godlike of the man who feels another's pain
Who shares another's sorrow and pride does disdain
Who regards himself lowliest of the low
Speaks not a word of evil against anyone
Blessed is the mother who gave birth to such a son
Who looks upon everyone as his equal,
Lust he has renounced
Who honours women like he honours his mother
Whose tongue knows not the taste of falsehood
Nor covets another's worldly goods
Who longs not for worldly wealth (or fame)
For he treads the path of renunciation
Ever on his lips is Ram's holy name
All places of pilgrimage are within him
He has conquered greed, is free of deceit, lust and anger
Through him Narsinh has godly vision
And his generation to come will attain salvation.
US Civil Rights:
Within the congregational tradition, the songs of the United States freedom struggle were highly adaptable.
Lyrics were changed spontaneously during mass meetings and marches to reflect the cause sometimes with
locally specific lyrics.
“We Shall Overcome”
Original lyrics by: Reverend Charles Tindley, traditional music
Introduced to the movement by: Zilphia Horton
We shall overcome,
We shall overcome,
We shall overcome, some day.
We shall all be free,
We shall all be free,
We shall all be free, some day.
Oh, deep in my heart,
I do believe
We shall overcome, some day.
Oh, deep in my heart,
We’ll walk hand in hand,
We’ll walk hand in hand,
We’ll walk hand in hand, some day.
Oh, deep in my heart,
We shall live in peace,
We shall live in peace,
We shall live in peace, some day.
Oh, deep in my heart,
We are not afraid,
We are not afraid,
We are not afraid, TODAY
Oh, deep in my heart,
We shall overcome,
We shall overcome,
We shall overcome, some day.
Oh, deep in my heart,
I do believe
We shall overcome, some day.
“This Little Light of Mine”
Original lyrics by: Harry Dixon Loes, traditional music
Introduced to the movement by: Zilphia Horton
This little light of mine
I'm going to let it shine
This little light of mine
I'm going to let it shine
This little light of mine
I'm going to let it shine
Let it shine, let it shine, let it shine
Ev'ry where I go
I'm going to let it shine
Oh, ev'ry where I go
I'm going to let it shine
Ev'ry where I go
I'm going to let it shine
Let it shine, let it shine, let it shine
All down the road
I'm going to let it shine
All down the road
I'm going to let it shine
All down the road
I'm going to let it shine
Let it shine, let it shine, let it shine
I’m going to let it shine
I’m going to let it shine
I’m going to let it shine
I’m going to let it shine
Let it shine, let it shine, let it shine
United Farm Workers:
“Llegando a los Files”
Lyrics: Agustin Lira; traditional music
Llegando a Los Files
Arriving at the Fields
Llegando a los files
Se ven los esquiroles
Se escónden en las viñas
Para no oír la verdad
Nosotros les pidímos
Muy honradamente
Que si son tan hombres
Se salgan de aquí
Viva, Viva nuestra huelga
Viva Huelga En General
Que aquí con los huelguistas
No se pueden ya rajar
Ya vienen los Huelguistas
Muy cercas de los files
Y desde tierra firme comiensan a gritar
Pelean sus derechos que no les da el patron
Y venga con nosotros, que aquí van a ganar
Vivan, Vivan los Huelguistas
Viva Huelga En General
Ya los patroncitos lloran
Nunca nos olvideran
Corran, corran esquiroles
Y no dejen de correr
Que muy cercas los huelguistas
Ya los van a convencer
(En voz alta)
Miren compañeros trabajadores
Aquí esta la huelga
Y aquel que no pelea sus derechos
Que se ponga a correr
Corran, corran esquiroles
Y no dejen de correr
Que muy cercas los huelguistas
Ya los van a convencer
Arriving at the fields
You can see the scabs
They hide beneath the vines
To keep from hearing the truth
We ask them
In a most respectable way
That if they are so macho
Then leave the field
Long-live, Long-live our strike
Long-live the General Strike
Because joining with the strikers
You can’t ever back down
Now the Strikers come
Very close to the fields
And from the side of the road begin to shout
Fight for your rights that the boss denies you
And come with us, because here you will win
Long-live, Long-live the Strikers
Long-live the General Strike
Now the dear bosses cry
They will never forget us
Run, run scabs
And don’t stop running
Because close-by the strikers
Will quickly get you to change your mind
(Spoken)
Look fellow farm workers
Here is the strike
And he who does not fight for his rights
Let him begin to run
Run, run scabs
And don’t stop running
Because close-by the strikers
Will quickly get you to change your mind
(Translated by Abby Rivera 10/05)
“Yo no le Tengo Miedo a Nada”
Lyrics: Agustin Lira (El Teatro Campesino cofounder)
the song was performed at a UFW meeting in 1965 during the Delano Grape Strike
Yo No Le Tengo Miedo a Nada
Yo no le tengo miedo a nada
A nada le tengo miedo yo
Unos pierden y otros ganan
Pero a mi no me gusta perder
Y por éso les digo a mis amigos,
Que se paren ya de vender
Porque aquel que es vendido
Siempre le va de perder
Mira mira, mira mira
Mira mira, como corren
Parece que si paran
El trabajo perderán
Que no saben esquiroles
Que ya la llevan de perder
Corran, corran esquiroles
Y no dejen de correr
Que muy pronto los Huelguistas
Ya los van a convencer
Yo no le tengo miedo a nada
A nada le tengo miedo yo
Unos pierden y otros ganan
Pero a mi no me gusta perder
(En voz alta)
Y si como les digo
Que sigan corriendo
Que se sigan escondiendose de la verdad
Que al cabo que aquel que es pendejo
En la frente se le ve la P.
Pero (continuar cantado)
Yo no le tengo miedo a nada
A nada le tengo miedo yo
Unos pierden y otros ganan
Pero a mi no me gusta perder
I Am Not Afraid of Anything
I am not afraid of anything
There isn’t anything that frightens me
Some win and others lose
But I don’t care to lose.
That is why I tell my friends,
To stop selling themselves out
Because he who is a sell-out
Will always wind up losing
Look, look; look, look
Look, look how they run
It seems as though if they stop
They will lose their jobs
Don’t the scabs know
That they’ll wind up losing them anyway
Run, run, scabs
And don’t stop running
Because surely quick the Strikers
Are going to change your minds
I am not afraid of anything
There isn’t anything that frightens me
Some lose and others win
But I don’t care to lose
(Spoken)
And yes, as I like to say,
That they continue running
That they continue hiding from the truth
Because anyway he who is stupid
Visibly wears the S on his forehead
But (return to singing)
I am not afraid of anything
There isn’t anything that frightens me
Some lose and others win
But I don’t care to lose
(Translated by Abby Rivera 10/05
Today:
“Yes We Can”
Performed by: Will I Am
It was a creed written into the founding documents that declared the destiny of a nation.
Yes we can.
It was whispered by slaves and abolitionists as they blazed a trail toward freedom.
Yes we can.
It was sung by immigrants as they struck out from distant shores and pioneers who pushed westward against an
unforgiving wilderness.
Yes we can.
It was the call of workers who organized; women who reached for the ballots; a President who chose the moon
as our new frontier; and a King who took us to the mountaintop and pointed the way to the Promised Land.
Yes we can to justice and equality.
Yes we can to opportunity and prosperity.
Yes we can heal this nation.
Yes we can repair this world.
Yes we can.
We know the battle ahead will be long, but always remember that no matter what obstacles stand in our way,
nothing can stand in the way of the power of millions of voices calling for change. (We want change.)
We have been told we cannot do this by a chorus of cynics…they will only grow louder and more dissonant
……….. We’ve been asked to pause for a reality check. We’ve been warned against offering the people of this
nation false hope.
But in the unlikely story that is America, there has never been anything false about hope.
Now the hopes of the little girl who goes to a crumbling school in Dillon are the same as the dreams of the boy
who learns on the streets of LA; we will remember that there is something happening in America; that we are
not as divided as our politics suggests; that we are one people; we are one nation; and together, we will begin
the next great chapter in the American story with three words that will ring from coast to coast; from sea to
shining sea: Yes We Can.
Page 11 of 13
Song Analysis: Reading beneath the Surface
In preparation for your thematic song presentation, please complete your analysis using the
following questions and prompts on another paper. This paper should be shown to the teacher
at least one class before you present.
Include the name of your song title and artist on your paper. Answer the following questions in
complete sentences using specific examples from the poem/song. If you take any direct quotes
from the poem/song lyric, you must use quotation marks.
1. What is the author’s tone in the poem? What emotions, feelings and/or
attitudes is the artist/poet expressing towards his/her topic? How can you
tell? Use examples from the poem to support your opinions.
2. Does your poem have a rhyme scheme/pattern? If so, explain what the
pattern of rhyme is in the poem. Provide some examples of rhyme in the
poem.
3. Are there any allusions to other poets/artists, works of literature, songs, wellknown famous people, specific places, historical events, etc…in your poem?
4. Are there any similes (comparisons using “like” or “as”) or metaphors (direct
comparisons) in your poem? If so, what things are being compared?
5. Are there any examples of alliteration in your poem? Please provide quotes
from the poem to support your answer.
6. What was the total effect of the poem/song on you as a reader/listener? How
did the poem make you feel (happy, sad, confused, etc…)? Were you able to
relate to the lyrics in any way?
7. How many stanzas are in your poem?
8. Who or what is the speaker in your poem? How do you know this?
Page 12 of 13
This semester we’re studying several “texts” with
similar themes; West Side Story, Romeo and Juliet,
and To Kill a Mockingbird all share the theme of
injustice among others. Your assignment is to
select a song that effectively explores the theme of
injustice. Injustice can manifest itself in many
ways; it is your task to select a song that you can
clearly link to this theme and our class readings.
You will present your song to the class in a five
minute lesson.
Thematic Song
Presentation Steps:
Guiding Questions (refer to specific lyrics in your response):
What is this song about?
How is this song about injustice?
What injustice might this be related to?
Are there similarities between this song and our class texts?
How?
What is the artist’s opinion/stance on this topic?
3. Type the title of the
song, name of the lyricist
(song writer), name of the
performer/group, and the
lyrics.
“Strange Fruit”
Lyrics by Abel Meerpol
Performed by Billie Holiday
Southern trees bear strange fruit,
Blood on the leaves and blood at the root,
Black bodies swinging in the southern breeze,
Strange fruit hanging from the poplar trees.
Pastoral scene of the gallant south,
The bulging eyes and the twisted mouth,
Scent of magnolias, sweet and fresh,
Then the sudden smell of burning flesh.
Here is fruit for the crows to pluck,
For the rain to gather, for the wind to suck,
For the sun to rot, for the trees to drop,
Here is a strange and bitter crop.
1. Sign up for a
presentation date.
2. Select an interesting
song that focuses on an
act of, or reaction to,
injustice. Songs should
be appropriate for use in
the classroom; you must
get teacher approval.
4. Outline your
presentation and prepare
3x5 note cards to assist
you with your
presentation (these will be
turned in).
5. Prepare a poster with
the title, performer, and
lyrics printed clearly, so
the class can read the
lyrics as we listen to the
song. Can you visually
emphasize the lyrics that
tie into our theme?
6. The day of your
presentation, bring the
recording to class on cd.
Preferably burn an extra
copy for the teacher.
Page 13 of 13