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Civil Rights: Freedom Riders
Characters
Charlotte Devree John Lewis James Farmer Governor Patterson
Genevieve Hughes Robert Kennedy
Setting
Thisreader’stheaterbeginsatacollegecampusinJanuary1961.JohnandGenevievechatinoverstuffedchairsinthecommonareaaroundasmalltable.ThestorythenmovestotheheadquartersfortheCongressofRacialEquality,wheredesks,papers,andvolunteersfillthesmallbutorganizedspace.Thereader’stheaterendsatGovernorPatterson’smansioninAlabama.Itisspaciousandeasilydemonstratesthegovernor’swealthandposition.
PrologueCharlotte: TheAfricanAmericansintheSouthhave
beentreatedunfairlyforalongtime.AfricanAmericanchildrencan’tgoto“white”schools.Theycan’teatin“white”restaurantsoruse“white”restrooms.WhitepeoplesometimesignorelawsthatprotectthecivilrightsofAfricanAmericans.MynameisCharlotteDevree,andI’mareporter.I’vebeenaskedtodosomethingdangerous.
James:
I’mJamesFarmer,theleaderoftheCongressofRacialEquality,orCORE.ThetimehascometotakeastandandprotecttheAfricanAmericansintheSouth.IhaveaskedbravemenandwomenalloverAmericatojoinourcause.Thismaybeverydangerousforthem.IhavealsoaskedCharlottetojoinus.Ineedhertoseewhathappensandtoreportthetruth.
Charlotte:
Weshouldstartatthebeginning.InJanuary1961,somethinghappenedtoayoungAfricanAmericanmannamedJohnLewis.HeisastudentatFiskUniversityinNashville,andwhathappenedduringhisvacationwasnotfair.Itwasnotlegal.Let’slistenasJohntellshisfriendwhathappened.
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30 31
Gonna Let Nobody Turn Me Around
Sympathy
I know what the caged bird feels, alas! When the sun is bright
on the upland slopes; When the wind stirs soft through the
springing grass, And the river flows like a stream of glass; When
the first bird sings and the first bud opens, And the faint perfume
from its chalice steals— I know what the caged bird feels!
I know why the caged bird beats his wing Till its blood is red
on the cruel bars; For he must fly back to his perch and cling When
he fain would be on the bough a-swing; And a pain still throbs in
the old, old scars And they pulse again with a keener sting— I know
why he beats his wing!
I know why the caged bird sings, ah me, When his wing is bruised
and his bosom sore, When he beats his bars and he would be free; It
is not a carol of joy or glee, But a prayer that he sends from his
heart’s deep core, But a plea, that upward to Heaven he flings— I
know why the caged bird sings!
By Paul Lawrence Dunbar
Traditional
Chorus: Gonna let nobody (clap) turn me ’round, (clap, clap),
Turn me ’round, (clap, clap), turn me ’round, Gonna let nobody
(clap) turn me ’round, Gonna keep on walkin’, keep on talkin’
Walkin’ on to Freedom Land.
Gonna keep on marchin’ (clap), ’til we’re free, (clap, clap),
’Til we’re free, (clap, clap), ’til we’re free! Gonna keep on
marchin’ (clap), ’til we’re free, Gonna keep on walkin’, keep on
talkin’ Walkin’ on to Freedom Land.
Chorus
This is an abridged version of the complete song.
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Building Fluency through
Reader’s TheaterThe 20th Century
Grades 4–8
Teacher Created Materials, Inc.5301 Oceanus Drive
Huntington Beach, CA 92649 http://www.tcmpub.comISBN
978-1-4333-0534-4
© 2010 Teacher Created Materials, Inc.
The classroom teacher may reproduce copies of materials in this
book for classroom use only. The reproduction of any part for an
entire school or school system is strictly prohibited. No part of
this publication may be transmitted, stored, or recorded in any
form without written permission from the publisher.
Author
Harriet Isecke
EditorWendy Conklin, M.A.
Associate EditorTorrey Maloof
Editorial DirectorDona Herweck Rice
Editor-in-Chief Sharon Coan, M.S.Ed.
Editorial ManagerGisela Lee, M.A.
Creative DirectorLee Aucoin
Cover DesignerLesley Palmer
Cover ArtThe Library of Congress
Illustration Manager/DesignerTimothy J. Bradley
Print Production ManagerDon Tran
Print ProductionPhil Garcia
PublisherRachelle Cracchiolo, M.S.Ed
Harriet Isecke
Building Fluency through Reader’s TheaterCold WarCommunism on
Trial
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Table of Contents
IntroductionForeword by Dr. Timothy Rasinski . . . . . . . .
3
The Connection Between Fluency and Reader’s Theater . . . . . .
. . . . . . . . . . . . . . . . . 5
Tips on Reader’s Theater by Aaron Shepard . . . . . . . . . . .
. . . . . . . . . . . 8
Correlation to Standards . . . . . . . . . . . . . . . . 11
Standards Correlations Chart . . . . . . . . . . . . 12
What’s Included in Each Lesson . . . . . . . . . 13
20th Century ScriptsChild Labor and the Industrial
Revolution
Child Labor Lesson Plan . . . . . . . . . . . . 20–25
Child Labor Primary Sources . . . . . . . . . 26–31
Immigration: For a Better Life
Immigration Lesson Plan . . . . . . . . . . . . 32–37
Immigration Primary Sources . . . . . . . . . 38–43
Women’s Suffrage
Women’s Suffrage Lesson Plan . . . . . . . 44–49
Women’s Suffrage Primary Sources . . . . 50–55
World War I: In Flanders Fields
World War I Lesson Plan . . . . . . . . . . . . 56–61
World War I Primary Sources . . . . . . . . . 62–67
The Great Depression: A Migrant Mother’s Story
Great Depression Lesson Plan . . . . . . . . 68–73
Great Depression Primary Sources . . . . . 74–79
World War II: Battle of Normandy
World War II Lesson Plan . . . . . . . . . . . . 80–85
World War II Primary Sources . . . . . . . . 86–91
Civil Rights: Freedom Riders
Civil Rights Lesson Plan . . . . . . . . . . . . 92–97
Civil Rights Primary Sources . . . . . . . . 98–103
Cold War: Communism on Trial
Cold War Lesson Plan . . . . . . . . . . . . . 104–109
Cold War Primary Sources . . . . . . . . . 110–115
AppendixHome-School Connections . . . . . . . . . . . . .
116
Aaron Shepard’s Tips . . . . . . . . . . . . . . . . . 118
Contents of the Performance CDs . . . . . . . 119
Contents of the Teacher Resource CD . . . . 122
Bibliography . . . . . . . . . . . . . . . . . . . . . . . .
127
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Foreword
By Dr. Timothy Rasinski Kent State University
I am not ashamed to say that I am a reader’s theater nut! I
really get pumped when I see kids perform scripts. I am equally
excited to see the fire in teachers’ eyes when they begin to use
reader’s theater with their students. Thus, it is no understatement
to say that I am thrilled to see Teacher Created Materials publish
this fine reader’s theater program. Let me explain why I am such an
advocate for reader’s theater.
As someone who has studied reading fluency, I know that repeated
reading is one of the best methods for developing students’ fluency
in reading. However, it disturbs me greatly to see the manner in
which students are often asked to engage in repeated reading. I see
students do repeated reading with an aim at improving their reading
speed—“Read this one more time to see if you increase your reading
rate.” To me, this is not a terribly authentic way to engage in
repeated readings. As a result of such a focus, I have seen many
students develop the idea that repeated reading is done to make
them faster readers and that reading fast is what reading is all
about. Through such an approach, we run the risk of developing
readers who sacrifice comprehension in order to read fast.
To do repeated reading appropriately, students need an authentic
reason to repeatedly read or rehearse a text. I think the most
natural reason to practice is performance. If you want students to
engage in repeated readings, have them perform what they are
practicing for an audience. With performance as a goal, students
now have a natural reason to engage in repeated readings. Reader’s
theater is a performance genre—it is a type of reading material
meant to be performed. Moreover, because the focus of the practice
is to convey a meaningful interpretation of the text to an
audience, reader’s theater is also a natural vehicle for developing
reading comprehension. I believe that reader’s theater is one of
the best and most authentic ways to engage students
enthusiastically in repeated reading to build reading fluency and
improve overall reading performance.
My second reason for being a reader’s theater nut is easy to
express—reader’s theater is fun! We all like to be a star at one
time or another. Reader’s theater is a perfect vehicle for allowing
students to become the star. I remember doing reader’s theater with
the elementary and middle school students I taught. They could not
get enough of it. They absolutely loved it. And, as their teacher,
I loved it too. I loved to see students perform with their voices,
watch their excitement, and enjoy their growth as successful
readers.
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Foreword (cont.)
By Dr. Timothy Rasinski Kent State University
Moreover, through the opportunity to perform and see themselves
as successful in reading, many of the struggling readers I worked
with began to believe in themselves again. Many struggling readers
give up on themselves as they are forced to plod through one
unsuccessful reading experience after another. The enjoyment,
success, and fulfillment that are part of reader’s theater can help
to break this cycle of despair and failure in reading for so many
students who find learning to read difficult.
Third, reader’s theater is a natural way to connect all areas of
the school curriculum. Social studies, literature, science, art,
and other curriculum areas can easily and effectively be explored
through reader’s theater. The scripts that are part of this
program, in particular, have been developed to make those
connections. Students can become so engaged in the process of
rehearsal and performance that they may not even be aware that they
are learning important content that goes beyond the reading
experience!
I know reader’s theater works. Nearly every teacher I have met
who uses reader’s theater on a regular basis feels that it is one
of the best and most engaging ways to grow readers, and to instill
in them a sense of reading success as they learn important content.
I hope you will give reader’s theater a try. I know you, too, will
become a reader’s theater nut!
Timothy Rasinski, Ph.D.Professor of Education
Reading and Writing CenterKent State University
Kent, OH 44242
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Materials • Civil Rights: Freedom Riders scriptbooklets
• CivilRightsPrimarySources(pages98–103orTeacherResourceCD)
• copiesofTake-HomeScript(TeacherResourceCD)
• PerformanceCDandCDplayerorcomputerwithaCDdriveandspeakers
Introduce the
LiteratureExplaintostudentsthatthewordcivilcomesfromtheLatinwordcivis,whichmeansrelatingtocitizens,andthatrightsarethelegalandmoralthingsthatpeopleareallowedtodo.AskstudentstonamegroupsofpeoplewhohadtofightfortheircivilrightsinAmerica:women,AfricanAmericans,etc.TellstudentsthattheywillbestudyingtheCivilRightsMovementthatcameaboutbecauseofdiscriminationagainstAfricanAmericans.ExplaintostudentsthattheCivilRightsMovementhadmanyheroesandheroines,whowerewillingtomakegreatpersonalsacrificestostandupforwhattheybelieved.Asaclass,developalistofthepersonalitycharacteristicsofaheroorheroine.Tellstudentsthatastheyreadthescript,theyshouldthinkaboutwhichcharactersdisplaythesecharacteristics.
Differentiation SupportShowEnglish language
learnersandbelow-grade-level students
photographsandillustrationsfromtheCivilRightsMovement(e.g.,protests,marches,sit-ins,FreedomRiders,schoolintegration)andhavethemwritefactcards
aboutthepictures.Theywilladdthesecardstoaclasstimeline.Haveon-grade-levelandabove-grade-levelstudents
researchthemajoreventsfromtheCivilRightsMovementandmakeaclasstimelineoftheevents.
Involving All
StudentsWhilethisscripthasonlysixroles,therearewaystoinvolveallstudents.Forthisscript,havesomestudentscreateposterspromotingcivilrightsforallandhaveotherstudentscreatebackdropscenesforthescript.Thebackdropsmayincludebuses,restrooms,drinkingfountains,andsigns.
Civil Rights: Freedom RidersCivil Rights Movement Lesson
Plan
Objectives• Fluency: Studentswill
determinethemeaningoftextthroughtextanalysisandrepeatedreadings.
• Content
Area:StudentswilllearnabouttheCivilRightsMovementintheSouth.
SummaryInCivil Rights: Freedom Riders,
twoAfricanAmericanstudentsdecidetojointheFreedomRidersorganizedbytheCongressofRacialEquality(CORE).AfricanAmericanandCaucasianCOREvolunteerssittogetherastheyrideonbusesintheSouthtoprotesttheJimCrowlawsthatdenyAfricanAmericansthesamerightsaswhitepeople.WhentheFreedomRidersarebeatenbyangrymobsinthestreets,thegovernorandtheattorneygeneralareforcedtogetinvolved.
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Reading the Script 1.
Tellstudentstoclosetheireyesasyoureadthefollowing:“I
was forced to sit in the back of the bus. Then more people got
on the bus, and I had to stand for hours because a white man wanted
my seat. […] I wasn’t allowed to use the ‘white’ bathroom when the
bus stopped, and the ‘colored’ bathroom was filthy. It had no paper
or soap, and the toilet was broken. It smelled awful. […] I was
starving, too, but they wouldn’t let me buy any food. I felt dizzy
and sick and began to argue, but they refused to serve
me.”Askstudentstodescribewhattheyvisualizedasyoureadthesentencestothem.Askthemwhattheythinkishappeningtothisperson.TellstudentsthattheywillbereadingascriptthatdealswithdiscriminationagainstAfricanAmericansandthepeoplewhoprotestedagainstitduringtheCivilRightsMovementinthe1960s.Asaclass,developalistoftherightsthatU.S.citizenshave.
2.
Provideeachstudentwithacopyofthescript.Smallgroupsmayusethescriptbooklets,oryoucanprintcopiesoftheTake-HomeScript.Playtheprofessionalrecordingasstudentsfollowalong.Asyouplaytherecording,askstudentstopayattentiontohowthereadersconveythethoughtsandfeelingsofthecharactersthroughtheirtonesandexpressions.Discusswhatthestudentsnoticed.
3.
Havestudentsreadthescriptwithpartners.HavethemwriteafactsheetofinformationabouttheCivilRightsMovement.Discussthisasawholeclassanddevelopaclasslist.
4.
Discusstheemotionsofthedifferentcharactersandaskstudentswhytheythinkthatthecharactersfeltthewaytheydid.Then,usethePowerPoint®editionofthescripttoconductawholeclassreading.Modelthemostdramaticwaytoreadsomeofthepartsandcallondifferentstudentstoreadotherpartswiththeappropriatetone,phrasing,andexpression.
5.
Afterreadingthescriptasaclass,havestudentslookattheglossaryintheback.Reviewthewords.Havestudentsworkinpairstodooneofthefollowingtwotaskswiththeglossary.
•
Createacrosswordpuzzleusingtheglossarywords.TellstudentsthatundertheDown
andAcrosscolumns,theyaretowritethedefinitionsintheirownwords.Havepairsexchangepaperswithotherpairstocompletethepuzzles.
•
Createawordfindwiththewordsfromtheglossary.Havethepairsexchangepaperswithotherpairstocompletewordfinds.
Civil Rights: Freedom RidersCivil Rights Lesson Plan
Differentiation SupportReviewallofthevocabularywithEnglish
language learners and below-grade-level students to
makesuretheyunderstandwhatthewordsmeanandwhattheyaresupposedtodo.Providethemwithawordbankandsomeillustrations,ifnecessary.Differentiatethecrosswordpuzzlebyprovidingsomeoftheanswersonthecrossword.Inaddition,useiconsorsmallpicturestohelpwiththevocabularyonthisactivity.
Asyouron-grade-level students andabove-grade-level
studentspractice,havethemfocusonusingmorevoiceinflectionandemotionastheyspeaktheparts.Itishelpfuliftheyuseanaudiorecordingtolistentohowtheyspeaksotheycanworkonimprovingtheirspeakingabilities.Letthesestudentscreatepodcastswiththeirrecordingsthatcanbeenjoyedbyyourschool.
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Assigning
RolesTherolesofthecharactersarewrittenonthreedifferentproficiencylevels.Assignrolestostudentsbasedontheirreadingproficiency.Rememberthatwhenstudentspracticefluency,theyshouldreadmaterialsatorbelowtheir
readinglevels.Thishelpsthemtofocusontheirprosody(accuracy,expression,andreadingrate).Ifastudentisreadingtextthatistoodifficult,hisorherattentionwillbefocusedondecodingwordsratherthanreadingwithfluency.
Theseareapproximatereadinglevelsfortherolesinthisscript:
❖CharlotteDevree:high3rdgrade
❖GovernorPatterson:low4thgrade
❖RobertKennedy:high4thgrade
❖JohnLewis:high3rdgrade
❖GenevieveHughes:low4thgrade
❖JamesFarmer:high4thgrade
Meeting the Fluency Objective 1.
Thefluencyobjectiveforthisscriptfocusesonrepeatedreadingsandtextanalysistoincrease
understanding.Theobjectivealsoconcentratesonunderstandinghowpunctuationcanindicatecorrectexpressionduringoralreading.
2.
Writethefollowinglinesfromthescriptontheboardwithoutpunctuationmarks:This
is outrageous! How long should people wait before they are treated
fairly? Don’t you think everyone has been patient long enough?
3.
Askvolunteerstoreadthelinesontheboard.Askstudentswhyitisdifficulttodoso,andwhatthepurposeofpunctuationis.
4.
Explaintostudentsthatwhentheyreadscriptsaloud,itisthroughtheirvocalexpressionthattheaudienceknowswhattheyarefeeling.Tellthemtopayspecialattentiontopunctuationbecauseitgivesthereaderdirectionastowhentopauseorstopandwhattoemphasize.Asaclass,determinewheretheexclamationmarks,questionmarks,andcommasshouldbeplacedintheabovepassageandwritethemwithadifferentcolorchalkorcircletheminthetext.Havestudentsrereadthelinesusingthecorrectexpression.
5.
Havestudentsworkinoneofsixgroupstoexaminethelinesofoneofthecharacters,payingspecialattentiontothepunctuation.Havethemeachchooseonepartforthatcharactertoreadaloud.Tellgroupmemberstohelponeanotherpreparebyreadingthetext,discussingthemeaningofthetext,andunderstandingthepunctuation.Aftereveryoneisready,haveeachstudentreadhisorherparttotheclass.
Civil Rights: Freedom RidersCivil Rights Lesson Plan
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Social Studies
ConnectionThefocusofthisscriptisonunderstandingthediscriminationAfricanAmericansfacedintheUnitedStates,theeventsthatled
uptotheCivilRightsMovement,andthechangesthatweremadeinthelaw.
1.
Giveeachstudenteitherablueoragreencard.Giveoutmorebluecardsthangreencards.Havestudentswithgreencardssitinthefrontoftheroomandstudentswithbluecardssitinthebackoftheroom.Tellstudentsthatfromnowon,theywillasaclassonissuessuchaswhentohavetests,quizzes,andclassparties.However,onlythevotesofstudentswithgreencardswillcount.Then,groupstudentsbycardcolorandhavethemwritehowtheyfeelaboutthenewpoliciesandwhy.RelatethisexperiencetohowAfricanAmericansweretreatedpriortotheCivilRightsMovement.
2.
HavestudentsworkingroupstoexaminethephotographoftheFreedomRidersinthebackofthepolicevan(page98).HavegroupswriteandactoutskitsshowingwhathappenedfromthetimetheFreedomRiderswereattackedbythemobtowhenthepolicearrestedthemandbroughtthemtothestation.
3.
Dividetheclassintotwogroups.EachgroupwillcreateadefensecaseforRosaParks.ThegroupswillneedtoexaminethephotographsofthreedocumentspertainingtothearrestofRosaParks(pages99–101).Afterexaminingtheevidence,havetheteamsconstructargumentstofreeher.Haveeachgroupactoutthetrialwiththeteacherservingasthejudge.Discussasaclasswhichgrouphadthebetterdefense.
4.
DividetheclassintoteamstoexaminetheAugust28,1963,MarchonWashingtonprogram(page102).Haveeachteamcompletearesearchreportaboutoneofthespeakerstofindoutwhothepersonwas,whatthatpersondidtohelptheCivilRightsMovement,andwhatremarksthatpersonmadeatthemarch.
5.
Examinethephotographoftheprotestmarchers(page103).AskstudentstomakeT-chartsthatincludetherightsthatallpeopleshouldhaveandwayspeoplecanpeacefullyprotestiftheserightsaredenied.
6. Havestudentswriteanessayentitled“SomethingWorthFightingFor.”
Explainthat“fighting”meanstotakeastandforsomethingthatisimportant.Theyneedtoexplainwhatisworthfightingforandwhy,andhowtheywoulddoit.
Differentiation Support
Createsomeleveledquestionsbasedontheprimarysourcesforyourstudentstoanswer.
First,thinkofwhatyouron-grade-level students
cananswer.Then,increasethecomplexityofthequestionforyourabove-grade-level
students.Ratherthanaskingstudentstodomorework,maketheirvocabularywordsmorecomplex.
Then,providenecessarysupportsothatyourbelow-grade-level
studentscananswerthequestions.Thismightbegivingthemanadditionalpieceofinformationontheprimarysource,providingafewsampleanswersforthem,ordefiningvocabularywordsforthem.
ForyourEnglish language
learners,includeimagesandallowthemtotellyoutheiranswersinsteadofwritingthem.Ifpossible,meetwiththeminsmallgroupstohelpguidethemthroughthequestions.
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Fine Arts Connection 1. ExplaintostudentsthatthescriptCivil
Rights: Freedom Riders contains
thepoem
“Sympathy”andthesong“GonnaLetNobodyTurnMeAround.”Thesongandpoemrelatetothereader’stheater,butarenotlimitedtouseonlywiththisscript.
2.
Distributecopiesofthepoemorshowthetransparencyofthepoemonanoverheadprojector.Readthepoemtotheclass.Askstudentstocomparetheplightofthe“cagedbird”inthepoemtotheexperienceoftheAfricanAmericansinthescript.Askstudentstocomparethebird’ssongtotheprotestsoftheFreedomRidersandothercivilrightsactivistsandtoshowthiscomparisonincreativeways,suchasmakingcollages,poems,illustrations,drawings,orpaintings.
3.
Next,havestudentslistentotheprofessionalperformanceofthepoem.Askthestudentstoanalyzetheexpressionoftheperformers.Havestudentspracticereadingitinsmallgroups,andthenreaditasaclass.
4.
Playtheprofessionalrecordingofthesong“GonnaLetNobodyTurnMeAround”
forstudentsandaskstudentstosingitwiththeclappingmotions.Then,havestudentsmeetingroupstoaddhandandbodymovementsthatrelatetotheversesalreadywrittenoraddadditionalversesthatrelatetotheCivilRightsMovement.
5.
Havestudentsworkindividuallyoringroupstocreatenewcivilrightsposters.
Civil Rights: Freedom RidersCivil Rights Lesson Plan
Differentiation SupportAskEnglish language
learnerstofindoutaboutthecivilrightsintheircountriesoforiginandtotalkaboutitwiththeclass.Havelistsofwordsavailableforthemtouseastheywrite.
Haveyourbelow-grade-level
studentsactoutsituationsthatshowcivilrightsproblemsfromthepastortoday.Otherstudentscanprovideoralorwritten
commentaryontheiractions.
Haveon-grade-level studentsandabove-grade-level
studentsresearchcivilrightsproblemsintheUnitedStatesandinothercountriestodayandtelltheclasswhattheyfound.
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Civil Rights: Freedom RidersCivil Rights Lesson Plan
Performance CD
Description Track
Characters, Setting, Script Reading, pages 6–12 Volume III,
Track 01
Poem: “Sympathy” Volume III, Track 02
Script Reading (cont.), pages 13–29 Volume III, Track 03
Song: “Gonna Let Nobody Turn Me Around” Volume III, Track 04
Teacher Resource CD—Primary Sources
Page Description Filename
98 Freedom Riders in the Back of a Police Van riders.jpg
99 Bus Diagram bus.jpg
100 Fingerprints of Rosa Parks fingerprints.jpg
101 Arrest Record for Rosa Parks arrest.jpg
102 March on Washington Program program.jpg
103 March on Washington march.jpg
Teacher Resource CD—Materials
Description Filename
Take-Home Script: Civil Rights: Freedom Riders
THS_rights.pdf
PowerPoint: Civil Rights: Freedom Riders PP_rights.ppt
Song: “Gonna Let Nobody Turn Me Around” song_rights.pdf
Poem: “Sympathy” poem_rights.pdf
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Civil Rights: Freedom RidersCivil Rights Primary Sources
Sour
ce:M
issi
ssip
piD
epar
tmen
tofA
rchi
ves
and
His
tory
Freedom Riders in the Back of a Police Van
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Civil Rights: Freedom RidersCivil Rights Primary Sources
Source:TheNationalArchives
Bus Diagram