Rain is not my Indian Name

Module 4

Smith, Cynthia Leitich. 2001. Rain is not my Indian name. New York: HarperCollins Publishers. ISBN 0-688-17397-7

Summary: Cassidy Rain is only 14 but when her best friend Galen dies, she feels as if her life is over too. Her family tries to get her involved in an intertribal Indian camp but at first she isn’t interested. Then, when it looks as if some people in the town are fighting against the camp, she gets involved. She must decide if she will learn to appreciate her heritage. In the process she learns to deal with her grief and begin to live her life again.

Critical Analysis: This story is more about breaking down stereotypes about Native Americans than perpetuating them, as so much literature in the past has done. Smith is writing from an insider perspective as one who understands about the real stereotypes that exist.

The story is told from the perspective of a young girl who has some Native American blood, At the start of the story, we simply see her as a young girl going through her first love and all the ordinary things teenagers go through. We can’t count on her environment to give us any cultural markers. She lives in a mostly white community, and we get the feeling that even though she is Native American,she would rather just fit in and not have to be different. We do get some identification of the culture in the tribes that she lists that her family are members of . She is a mix of Muskogee Creek-Cherokee and Ojibway. But she also has Irish blood. She calls herself an Indian, but says that “Rain is not her Indian name”.

The story is set in modern times and we get very little traditional representation. There is not much mention of the traditional foods, religious practices or music that relates to a specific Native American culture. The characters are well assimilated into American life. There are no language patterns or dialects that sets them apart.

There are a few markers to indicate where she comes from culturally. There is a description of a traditional tear dress that belonged to her mother. Her mother had come from Eufala, Oklahoma (known as an Indian reservation area) and had attended a school for “Indians” in Kansas. We learn that other relatives had worked for the Bureau of Indian Affairs and the Indian Health Service.

Rain describes her skin tone in this way : “Nobody’s impressed that I can look out the window and get a tan.” When she describes her Aunt Georgia she says that . . . “From a distance, nobody would have guessed that she was a Muskogee Creek Cherokee” because of the new red hair dye job.

Rain seems to be in conflict about who she is. She knows all too well the stereotypes about her people. When her aunt invites her to Indian camp, she though it” “sounded like the kind of thing where a bunch of white kids tromped around a woodsy park, calling themselves “princesses”, “braves” or “guides.” “ We also see this in her description of Turkey Day, where the “so called Indians always look like bogeymen on the prairie . . . or baby-faced refugees from the world of Precious Moments.”

The book can be read on a couple of different levels. It is the story of an adolescent girl going through a normal coming of age who also has to deal with great loss. We see how she progresses from grief and works through to acceptance. On another level, we see how she must come to terms with who she is as a Native American.

The author has done a good job of helping to clear away stereotypes about Native Americans. We need more books like this, that show Native Americans in modern settings, living just like other Americans to sweep away the negative representations from the past. This book is recommended for ages 10-14.

Review Excerpts:
“Smith (author of Jingle Dancer) portrays a protagonist with a genuine voice and an appealing sense of humor. Aunt Georgia's red hair, Grampa's notes from Las Vegas, pasta bridges and all, this rendering of a contemporary family of Native American heritage is wonderfully far from stereotypical "dreamcatchers, the kind with fakelore gift tags”. (Children’s Literature, 2001)

“A quick and easy read that will appeal to preteen and young teen girls, this novel is especially suited to ethnically mixed, Native American, or reluctant readers.” (VOYA, June 2001)

Connections: This book can be paired with other by Smith such as Jingle Dancer and Indian Shoes. Discuss some of the Native American nations that are mentioned in the books and learn specific things about each one. Check out web sites that provide information about different Native American cultures. An example is found at http://www.bigorrin.org/creek_kids.htm

The Great Ball Game: A Muskogee Story

Module 4

The great ball game: A Muskogee tale. 1994. Retold by Joseph Bruchac. Ill. by Susan L. Roth. New York: Dial Books for Young Readers ISBN 0-8037-1539-0

Summary: The animals wanted to settle a disagreement. The Birds thought they were superior because they had wings. The Animals thought they were better because they had teeth. Instead of going to war they decided to have a ball game: the winner would be the first side to score a goal. They divided up into two teams: those with teeth and and those with wings. The bat had both teeth and wings so he wasn’t accepted by either team. Finally the Bear felt sorry for him and accepted him onto the Animal team. At the last moment when it seemed that the Birds would win, the bat saves the day and helps the animal team win. Bat set the penalty for the Birds. That is why Birds fly south for half of each year.

Critical Analysis: This picture book is a retelling of a story from the Muskogee (Creek) Indian Nation. There are other versions of the story from the Ojibway and Cherokee nations which are also in print. The author based this story on a tale told to him by an Oklahoma Muskogee elder. Native Americans have long passed down their stories orally, from generation to generation. It is an important contribution when an author such as Bruchac puts these stories down in print before this oral tradition becomes a thing of the past. By doing so, he is helping to preserve Native American culture.

While the author is an “insider” from the perspective that he is a Native American, he is not a member of the Muskogee tribe (he is Abenaki). Still, he researched the background of the story well, which lends authenticity. The stories are Native American but as animals are the main characters, we do not have to deal with stereotypes and other issues frequently present in Native American literature.

The ball game is a significant element in Native American culture. These games were played in various forms by many of the Native American tribes/nations. And often these games would be played to settle an argument instead of going to war.

The use of talking animals with human characteristics is common in Native American folk tales. It seems to be an effective way of making a point or teaching a lessons about human nature. This also seems to fit in with the Native American tendency to respect nature and the environment.

The illustrations, by Susan Roth are created in collage with paper which she collected from all over the world. Some of the paper was handmade. They are interesting, creative and give a folk art “feel”. Children will enjoy the humorous looking animals.

This book is recommended for ages 4-8.

Review Excerpts: “This porquoi tale is told in clean, spare sentences with the emphasis on action and character.” (School Library Journal, 1994)

“With clear, minimal language, Bruchac. . . wisely lets the myth carry itself.” (Publisher’s Weekly, 1994)

Connections: Read other similar type stories by Joseph Bruchac: How Chipmunk got his Stripes, Turtle’s Race with Beaver, and Raccoon’s Last Race.

Culture 3: Hispanic Literature

Module 3

Soto, Gary. 2003. The afterlife. Orlando: Harcourt, Inc.
ISBN 0-15-204774-3

Summary: Chuy, a boy of Mexican descent living in Fresno is murdered simply because he made a comment about someone’s shoes. When his physical life ends his spirit roams around Fresno and is able to see things from a new perspective. He sees as his family grieves and prepare for his funeral. He misses his family and friends, but is unable to communicate with them. Finally he meets another spirit, a girl named Crystal who also recently died. Finally he is able to face the afterlife.

Critical Analysis: We learn in the first chapter that Chuy is Mexican American and there are many indicators of his culture. There is a great deal of code switching (using a mixture of English and Spanish) throughout this book. This is common in the culture and helps to make the story authentic in the cultural representation. Gary Soto is also writing from an insider perspective which also lends credibility.

This is definitely a modern representation of Mexicans living in America. While the characters retain some of their cultural traits, they are not overly romanticized. Also, they are not typecast. Chuy is an average boy who “ran cross country, ate lunch with my friends . . . and crowded around the fountain eyeing girls.” He just happened to be Mexican.

We do see several cultural markers in the story. The names used are indicators of this. Chuy’s proper name is Jesus, a common Mexican name. Some of his friends names are Angel and Julio. Interestingly, some of the forms of address he uses for family members are in English. For example he calls his grandfather “Grandfather” and his uncle is “Uncle Richard”. Also, some of his friends have American names, which shows some assimilation into the American culture.

We also get a sense of the macho or machismo coming out in Chuy’s attitude toward girls. This is brought out when he is standing in front of the mirror at the club and telling himself to “be Senor GQ” and to use his “lover boy strategy.”

The family relationships are another cultural marker in the book. Chuy’s concern for his “familia” is obvious when he is wishing he could comfort them after his death. We see the close relationship he had shared with his uncle Richard while he was still alive: Richard had allowed him to use his Honda on the night he died.

When Chuy’s mother wants one of Chuy’s friends to find and kill Chuy’s murderer, we get a glimpse of a kind of “revenge” attitude that we sometimes see in this culture, particularly in areas where there are gangs. In a sad way, it is representative of familial love carried to the extreme.

Representations of Mexicans show the diversity in the culture. Chuy is surprised to learn that Crystal is Mexican because she looks different than him with light brown hair and freckles. Also, her family appears to have more money than Chuy’s, which breaks down the stereotypes that all Mexicans are poor. When Chuy and Crystal joke about her making tortillas points out their understanding about the stereotypes which exist about their culture.

The gang element is a fact of life in Mexican American neighborhoods such as the one in which Chuy lived. It is entirely conceivable that someone could be murdered for simply making a comment about someone’s clothing or shoes.

Religion is another cultural marker. Chuy visits a Catholic church and prays before a candle in one part of the story. Mexicans are predominantly Catholic and for many it is not really a religion of the heart, but merely of culture, something they are born into. Yet the church has a strong influence, which comes out in the guilt that many Mexicans feel. Chuy admits that he was bored in Mass as a child. In his spirit form he starts to see things a little differently. We get a sense of the guilt Chuy feels when he confesses his sin of cussing in church.

This book is disturbing because it presents a true picture of life in some neighborhoods. Young lives are senselessly destroyed for no good reason every day. Yet the story is also filled with humor which lightens up the heaviness. When the dead homeless man jumps inside the body of Chuy’s murderer and makes him go to church and “get him to behave and not be such a punk”, we have to laugh.

The book is thought provoking. Young people are always interested in the spirit world. While they may find it disturbing, it may also raise some important issues. It is recommended for ages 12 and up.

Review Excerpts:
"Soto pens a sort of Lovely Bones for the young adult set, filled with hope and elegance," . . . "The author counterbalances difficult ideas with moments of genuine tenderness as well as a provocative lesson about the importance of savoring every moment.” (Publisher’s Weekly, 2005)

“Soto's simple and poetic language, leavened with Mexican Spanish with such care to context that the appended glossary is scarcely needed, is clear, but Chuy's ultimate destiny isn't.” (School Library Journal, 2003)

Connections: This book could be paired with two other books by Gary Soto with similar themes: Petty Crimes and Living up the Street.Also, it could be compared and contrasted to Julia Alvarez’s book How Tia Lola Came to Visit (Stay). That book gives a different perspective on Hispanics living in America.

How Tia Lola Came to Visit (Stay)

Module 3

Alvarez, Julia. 2001. How Tia Lola came to visit (stay). New York: Alfred A. Knopf. ISBN 0-375-90215-5

Summary: When Tia Lola comes to visit from the Dominican Republic Miguel doesn’t know how to feel. Even though they are family, they don’t speak the same language. At first Miguel is embarrassed by his aunt’s different customs and behavior. Then he and his sister begin to be exposed to their heritage and to understand Tia Lola. Eventually he sees how she brings life and joy to their family.

Critical analysis: This book is a rather humorous look at a family who is experiencing several transitions. The story gives a modern representation of an Hispanic family from the Dominican Republic. The children, Miguel and Juanita are second generation, having been born in America, and are deeply steeped in American culture. They are definitely not stereotyped or typecast. In fact, they do not know as much about their root culture because their family has so well integrated into American culture. When Tia Lola comes, it gives them an opportunity to learn more about their roots.

There are a few language cultural markers in the children’s speech. While they really don’t use much Spanish in the beginning, they do address their parents with the names “Mami” and “Papi”. Also, their names are Spanish. When Tia Lola comes, the amount of Spanish dialogue increases. This points out the fact that second generation Hispanic Americans are not always bilingual, which is a common stereotype.

Miguel and Juanita’s parents are definitely different from the stereotypical Hispanic immigrants. Their mother is educated and works as a counselor. Their father is an artist who sets up department store windows. The stereotype is that Hispanic women do not have careers, or they work low paying jobs. Also, the parents are getting divorced, which seems unusual for Hispanic marriages. Even so, the sense of family commitment is still evident in the story. Their father remains an important of their life. Also, Tia Lola is the essence of the cultural marker of strong family relationships.

The general environment of the story does not set it apart as a story about Hispanics. The family lived in New York and moved to a farmhouse in Vermont. In the city the children walked to school. In the country they rode the bus, just like other children in the area.

There is a contrast in the types of foods eaten by the family before Tia Lola arrives and after. Before,they ate foods like SpaghettiO’s, Pringles, pizza, hot dogs and french fries. Afterwards they ate pastelitos, salchichon, black beans and empanaditas de queso. The food seems to have a magical element that Miguel finally identifies as love.

In this story, we see the cultural marker of how celebrations are important in the Hispanic culture. Tia Lola takes birthday party planning to the extreme.

Skin tone and appearance as a cultural marker is brought out briefly in this story. Miguel knows that in Vermont “his black hair and brown skin stand out.” We get a little glimpse of how different he feels. The description of Tia Lola is similar: “Her skin is the same soft brown as theirs”. The stark contrast between the way Tia Lola dresses and Miguel’s mother dresses show the varied representations of people from the same culture. The author is trying to make a point about stereotypes. This is also evident in the discussion between Miguel and his father about baseball and Dominicans.

The book gives us a taste of the Dominican culture and some of its specific traits. This delightful story gives us a picture of what it’s like to appreciate your root culture while being totally immersed in American life. It is recommended for ages 9-12.

Review Excerpts:“Readers will enjoy the funny situations, identify with the developing relationships and conflicting feelings of the characters, and will get a spicy taste of Caribbean culture in the bargain” (School Library Journal, 2001)

“. . . a story that is alternately affecting and treacly. . . “ (Publisher’s Weekly, 2001)

Connections: Compare this book to one by Pam Munoz Ryan called Becoming Naomi Leon. Ryan’s book is about a young girl of partial Mexican heritage who discovers her roots in a slightly different way than in the Tia Lola story. While her family situation is vastly different (especially from a socioeconomic point of view), we see the similarities of children who are learning to appreciate their Hispanic roots and heritage.

A Library for Juana

Module 3

Mora, Pat. 2002. A library for Juana: The world of Sor Juan Ines. Ill. By Beatriz Vidal. New York: Alfred A. Knopf. ISBN 0-375-80643-1

Summary: Juana Ines lived in colonial Mexico in the 1600s. She loved books, even though she was too young to read. When her older sister went to school, she decided to go too. Even though she was small the teacher allowed her to learn along with the other students. As Juana grew, so did her desire to learn. Even though she wasn’t allowed to attend the university (where only men could go), she found a way to keep learning, reading and writing. She also helped to start one of the largest libraries in the Americas (at that time).

Critical Analysis: This picture book is historical because it is based on the life of Sor Juana Ines de la Cruz who is well known in Mexico for her poetry. We do not have much personal information about Sor Juana other than when she lived and died. We do know something about colonial Mexico when it was ruled by Spain. References to the viceroy who was appointed to rule over Spain, the name of Nueva Espana (New Spain) give the story historical authenticity.

Sor Juana’s poems are the best way we have to learn about Sor Juana. Her poetry speaks of her feelings, have survived for hundreds of years and are still popular in Spanish speaking countries.

The story does seem to overly romanticize the experience of Juana Ines. Even though she was born in a rural village in colonial Mexico, the story makes her life seem idyllic. The characters in the story aren’t well developed and they seem to be too “nice” all the time. Even though her mother does her own housework, she always dresses very well (almost like the Hispanic version of June Cleaver).

The author incorporates Spanish words and phrases within the English text. This lends a Mexican flavor. Forms of address for family members are typically Mexican: Mama, Abuelo, Senora etc. Her poems are also written in Spanish.

Abuelo Pedro, her grandfather, appears to live with Juana and her family. Close family relationships are an important cultural marker in Mexican American Literature.

The role of women in the Mexican culture is traditionally one of submissiveness to men. This comes across in the attitude about Juana going to university. Even so, it’s obvious that the author is not writing about a stereotypical Mexican woman. Juana Ines received more education than most women in her time.

The emphasis of the Catholic church is strong in Mexican culture. It makes sense that if Juana Ines was more interested in learning than in her looks, choosing the church over marriage and family would be an obvious choice. In that time period and culture, there weren’t many options.

The brightly colored illustrations were created by Beatriz Vidal using a magnifying glass and small brushes in watercolor guache. The skin tone of Juana and her family is lighter and makes them appear more Spanish or European. A few of the characters have darker skin which would be more typical of Mexicans descended from the Mayans. This is a cultural marker which shows the diversity of Mexican people.

Because we do not have all the facts about Juana Ines, the author obviously had to use her imagination. While the story may be a bit unrealistic (I’m not sure if Juana really correctly answered all the questions from the forty scholars) we do learn a bit about her life and poetry. A glossary at the end of the book defines some of the Spanish words and we also find an English translation of one of her poems there.

This book is recommended for ages 5-8.

Review Excerpts:
“An internationally known bibliophile and poet whose works are studied in university Spanish literature courses, she was a Renaissance woman in the most complete sense of the word. Mora's beautifully crafted text does credit to its subject, following her from birth to death. Sor Juana Ines comes across as intelligent, headstrong, humorous, and kind, and her retreat to the convent as a place of learning seems natural.” (School Library Journal, 2002)

“Even with the book's rather abrupt ending, the heroine's journey, coupled with Vidal's depiction of expressive faces and lovely renderings of flowers that spill from the borders of the pictures make for a memorable volume.” (Publishers Weekly, 2002)

Connections:This book could be paired with other picture books about libraries. For example, you could use Tomas and the Library Lady, also written by Pat Mora. Other titles could include Library Dragon (by Carmen Agra Deedy), Library Lion (by Michelle Knudsen), Library Mouse (by Daniel Kirk) and The Boy who was Raised by Librarians (by Carla Morris)

Culture 2: African American Literature

Module 2


Pinkney, Andrea Davis. 2002. Ella Fitzgerald: The tale of a vocal virtuosa. Ill. by Brian Pinkney. New York: Hyperion Books for Children. ISBN 078680568-4

Summary: This biography highlights the life of Ella Fitzgerald, one of the foremost jazz singers of all time. It’s told from the perspective of Scat Cat Monroe, an imaginary cat who claims to have been there with Ella “from the get-go”. Ella is a young girl who likes to dance but discovers that her greatest gift is her voice. We see her as she starts out on the streets of Yonkers and winds up at Carnegie Hall. We see her as she grows from a young girl with “knees knockin’, teeth clackin’. A wanna-be, with a stomach full of butterflies” to someone who “everybody knew . . . was boss.” The story brings out her experiences with jazz musicians such as Chick Webb, Dizzy Gillespie and Benny Goodman in venues such as the famed Savoy and Carnegie Hall. The story gives a grand, imaginative picture of the life of a woman known as The First Lady of Song.

Critical Analysis: This picture book biography takes artistic risks both in the way it is written and illustrated. While it is factual, it is written from the point of view of an imaginary cat named Scat Cat Monroe, He takes his name after scat, “the sound that don’t hold you back”. His jazzy rhyme which introduces the book sets the tone and is an indication of the style of writing Pinkney uses throughout.

The book is historically accurate about the styles of music which were prominent during this period (jazz, bee-bop, swing etc). Also, in “A Note from the Author” at the end of the book, we learn more facts about Ella Fitzgerald’s life. Pinkney relied on the help of research assistance from the Museum of the City of New York, the Carnegie Hall Archives to lend authenticity.

The language and speech patterns used in the story mirrors the types of dialogue used by African American jazz musicians during that period. Phrases like “getting’ loose”,” jammin’”, “grits and gravy” and “slammin’ “. would have been used by musicians of color.

The story is told in four chapters or “tracks” (a music recording term). Each track tells about a different phase of Ella’s life, all the way from Harlem to Carnegie Hall. From the get-go the emphasis is placed on Ella’s talent, but we do get a tiny glimpse of her home life of growing up in Yonkers, in a single parent home.

A strong cultural marker is the support she receives from her African American community when they encourage her to go to New York. We see a slight emphasis on the effects of discrimination but Ella’s story shows the progress that her race was making when she was able to perform in clubs where blacks had never been before. According to Scat Cat “Ella’s popularity showed them that a true star has no color – it just shines.”

The story contains an important ingredient of creating a positive impression of the culture. We see the vast contributions of African Americans to American music, history and culture. African American musicians are compared favorably to popular white groups such as Benny Goodmans’.

Brian Pinkney studied the work of Harlem Renaissance artists from Ella Fitzgerald’s time period for this book which provides authenticity. The pictures were created from scratchboard illustrations which were then tinted with dyes and painted with acrylics. The illustrations are a little cartoonish, almost like a graphic novel, but they work well with the way the story is being told. They show the energy that jazz music provoked.

Children will enjoy the delightful pictures and dialogue while learning about a part of African American history. The book is recommended for ages 5-9.

Review Excerpts:
“The team behind Duke Ellington here showcases the First Lady of Song, in what PW's starred review called "a `skippity-hop-doo-dee-bop' picture book.” (Publisher’s Weekly, 2007)

“Brian Pinkney's distinctive scratchboard-and-acrylic paintings evoke the rhythm of the text and invite readers along on the ride. They will enjoy finding Scat Cat himself on most of the spreads. Bright colors, jazzy words, and energetic artwork bring the music of scat and Fitzgerald to life. A page of biographical information is included. This beautifully rendered tribute to the "Vocal Virtuosa" will be a welcome addition in all libraries.” (School Library Journal, 2002)

Connections: This book could be a part of a unit on art and/or music of the Harlem Renaissance. It could be paired with books about the life of Dizzy Gillispie, Chick Webb, Billie Holiday, Fletcher Henderson and others.

It could also be paired with a book of poems about the Harlem Renaissance. A good example is Entrance Place of Wonders: Poems of the Harlem Renaissance, compiled by Daphne Muse (illustrated by Charlotte Riley Webb).

Goin' Someplace Special

Module 2

McKissack, Patricia C. 2001. Goin’ someplace special. Ill. By Jerry Pinkney. New York: Antheneum Books for Young Readers. ISBN 0-689-81885-8

Summary:´’Tricia Ann is excited about setting off on her own to go “Someplace Special”. Along the way she meets a few obstacles that threaten to cloud her enthusiasm. Jim Crow laws prevent her from having a seat on the bus or sitting on a park bench. After being kicked out of the Southland Hotel she almost gives up until someone special reminds her of what her grandmother always told her “. . . just keep walking straight ahead – and you’ll make it.” She finally reaches her “someplace special: the public library, where everyone is welcome.

Critical Analysis: One key ingredient in this picture book is accurate factual information about African Americans in the south when Jim Crow laws were still in effect. ‘Tricia Ann is exposed to all of this on her bus ride, at the park, and nearly everywhere she goes.

One indication that this is a quality afro-centric book is that it has positive images. ‘Tricia Ann’s grandmother has instilled her with positive ideas about herself and this is reaffirmed by others in the community.

The book, while a children’s story, has themes that are deep. The effect of racism and legal discrimination are dominant, as well as the struggle for equality. We see how ‘Tricia Ann is hurt by this, but we also see how she is able to overcome it with the resilience that is common in the African American culture.

This book has definite cultural markers. The bus was an important mode of transportation for blacks during that time period. It was also a symbol of inequality because of Jim Crow laws. The dialect used in the story is also a cultural indicator. Dropping letters in words is common when African Americans are conversing with each other.

‘Tricia Ann lives with her grandmother. Grandparents raising grandchildren are common in this culture. Also, her name for her grandmother, “Mama Frances” is typical. The love of family is an African American cultural marker that is front and center in this book. Also, we notice the way all the African American characters stick together and support each other. This is an affirmation of ‘Tricia Ann, as well as to others in the culture and leaves a lasting impression.

The pencil and watercolor illustrations are created by Jerry Pinkney. ‘Tricia Ann is shown as a very pretty young girl in a brightly colored dress. It’s obvious that Pinkney is putting his culture on center stage. Many of the white characters are painted in monotones.

This story gives us a sense of hope felt by a beautiful young girl as she reaches a place where everyone is welcome: the library. This shows the commitment of the author to the theme of racial uplift and progress.

This book is recommended for ages 4-8.

Review Excerpts:
“Pinkney's (previously paired with McKissack for Mirandy and Brother Wind) luminescent watercolors evoke the '50s, from fashions to finned cars, and he captures every ounce of 'Tricia Ann's eagerness, humiliation and quiet triumph at the end.” (Publisher’s Weekly, Sept. 2001)

“'Tricia Ann's first solo trip out of her neighborhood reveals the segregation of 1950s' Nashville and the pride a young African-American girl takes in her heritage and her sense of self-worth. In an eye-opening journey, McKissack takes the child through an experience based upon her own personal history and the multiple indignities of the period.” (School Library Journal, 2001)

Connections: This book could be paired with other books about children in similar situations during the time of racial segregation. Some good choices would be White Socks Only by Evelyn Coleman and
Freedom on the Menu: The Greensboro Sit-Ins. Also, it could be combined with biographies of real individuals who were part of the struggle for equality such as Ruby Bridges, Rosa Parks or Dr. Martin Luther King.