Course Profile
Expressing Aboriginal Cultures, Grade 9 open, Public
Unit 1
Course Profiles are professional development materials designed to help teachers implement the new Grade 9 secondary school curriculum. These materials were created by writing partnerships of school boards and subject associations. The development of these resources was funded by the Ontario Ministry of Education. This document reflects the views of the developers and not necessarily those of the Ministry. Permission is given to reproduce these materials for any purpose except profit. Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes.
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Course Profile Writing Team
Gloria Thomas, Grand-Erie District School Board
Rocky Landon, Limestone District School Board
Gerry Winger, Niagara District School Board
Unit 1: Oracy: Aboriginal Stories
Activity 1 | Activity 2
| Activity 3 | Activity 4 | Activity 5 |
Activity 6 | Activity 7
| Activity 8 | Activity 9
Time: 20 hours
Unit Developer(s)
Gloria Thomas, Grand-Erie District School Board
Rocky Landon, Limestone District School Board
Gerry Winger, Niagara District School Board
Development Date: July 1999
In this unit students listen, visualize, adapt, collaborate, imagine, and create through the medium of the story. From the beginning of time, Aboriginal peoples have made meaning from the environment and then transmitted this meaning to the next generation through storytelling. Students convey in writing, drama, and oral communication the importance of Aboriginal stories. They make meaningful connections between Aboriginal stories and events in their own lives. Students should be introduced to Unit 5 and its performance expectations at the beginning of the course.
Strand(s): Identity, Relationships, Sovereignty, and Challenges
Overall Expectations: GLV.08, GLV.09, GLV.10, GLV.11, REV.01, REV.02, REV.03, SOV.01, SOV.02, SOV.03, CHV.01, CHV.02, CHV.04.
Specific Expectations: GL1.01, GL1.02, GL1.03, GL1.05, GL1.06, GL1.07, GL1.08, GL2.01, GL2.03, GL2.04, GL2.05, GL3.02, GL3.03, RE1.01, RE1.02, RE2.01, RE2.02, RE2.03, RE3.01, RE3.02, RE3.03, RE3.04, RE3.05, SO1.01, SO1.02, SO1.03, SO1.04, SO1.05, SO1.07, SO1.08, SO2.01, SO3.03, CH1.05, CH2.02, CH2.03, CH3.03, CH3.04, CH3.05.
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Activity 1 |
Introduction to Aboriginal Story Telling |
75 minutes |
|
Activity 2 |
Where do Aboriginal Stories Come From? |
150 minutes |
|
Activity 3 |
Creation Stories |
150 minutes |
|
Activity 4 |
Trickster Stories |
75 minutes |
|
Activity 5 |
History (or Relocation) and Ceremonial Stories |
225 minutes |
|
Activity 6 |
Personal Narratives/Stories of Adventure |
150 minutes |
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Activity 7 |
Stories of the Unknown |
150 minutes |
|
Activity 8 |
The Role of Story in Video |
150 minutes |
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Activity 9 |
Closing Lesson - Discussing the Way of the Storyteller |
75 minutes |
Collaborative work skills are expected of all students, as many tasks involve students working in small or large group settings. Experience in elementary arts and language programs assists students in achieving the expectations of this unit.
· Take time to practise storytelling prior to lesson delivery. The book, The Power of Story: Teaching through Storytelling (Collins & Cooper, 1997), is a recommended resource to facilitate the development of storytelling technique.
· Consult with local Aboriginal communities with regard to stories that are of significance to them and also with respect to customs and beliefs surrounding the telling of these stories.
· Always strive to develop in their students, through modelling, a sense of respect for the stories and the values they represent.
· The collection of a wide range of Aboriginal stories is an essential resource component of this unit. Prior to unit delivery, gather and become familiar with these materials.
· Contact local Aboriginal resource people prior to course delivery to arrange for them to come to classes or participate in outings and special events. If course delivery is conceptualized as a collaborative venture, the unit will be more meaningful and interesting for students. Take time to go over the general aims and sequence of the unit with them and pre-plan classroom visits and other interactions.
· Teachers may be required to provide students with text reproductions. Teachers are reminded that Cancopy rules apply: “No more than 20% of any document may be copied.”
· Assessment and evaluation must be clear, thorough, and ongoing. To accommodate the needs of Special Education and ESL/ESD students, student demonstration of achievement for an expectation may be different from others in the class and they may require different opportunities to demonstrate their achievement. For example, one would expect teachers to adapt and adjust the curriculum to meet the individual needs of all exceptional and identified students.
· Long-range planning should be done relating to preparation for Unit 5.
Brainstorming, whole group instruction, class discussion, small group and independent learning, response sheets, modelling of appropriate attitudes and skills, guest speakers, demonstrations, field trips, written responses and reports, computer research, co-operative learning strategies, and guided imagery may be used to deliver this unit.
Teachers are expected to use a wide range of diagnostic, formative, and summative assessment tools, such as observation, checklists, rubrics, and tests to monitor student development in the following student products: response journals, art portfolios, anecdotal reports, peer- and self-assessments, oral presentations, and group/individual performances.
Time: 75 minutes
In this activity students are introduced to the design and content of the course. Students are also introduced to the art of storytelling by having the teacher tell several stories.
Strand(s): Identity
Overall Expectations:
· demonstrate understanding of how Aboriginal art forms reflect cultural identity.
Specific Expectations:
· identify characteristics of art forms (e.g., totem poles, storytelling, songs) from various Aboriginal groups in Canada;
· demonstrate understanding of the skills used to create traditional Aboriginal art forms.
· This lesson introduces students to the structure of Aboriginal storytelling and some of the symbols, values, and philosophy that are shared. Teachers should reference the Glossary for a definition of story types and visit the story section of the web site of The Museum of Civilization (http://cmc.on.org).
· It is important for teachers to model storytelling rather than read a story. In order to help facilitate good speaking skills, one needs to experience modelled behaviour, have time to plan the performance, rehearse the planned activity, and have an opportunity to perform.
· Teachers need to review appropriate resources to develop effective storytelling skills (see Collins & Cooper, 1997; see also Appendix A: The Art of the Storyteller).
· With respect to the retelling of stories, be aware that inappropriate or stereotyped stories exist and therefore set boundaries around which types of stories can be retold.
· Understanding the content of Grades 5 and 6 Aboriginal studies units;
· Collaborative skills;
· Effective speaking techniques;
· Practice in reflective and narrative writing;
· Questioning skills;
· Active listening skills;
· Independent work habits.
1. Introduce students to the course: outline overall expectations, strands, and themes that the class is addressing. Explain to students that this course does not focus on "art doing activities" all the time. From time to time, small and large groups discuss content in order to understand the meaning and values shared by artists.
2. Tell the students the Seneca story "The Origin of Stories" (Clark, 1960) and the Iroquoian "Sky Woman Creation Story" (Mitchell, 1984). Have students examine the stories using the questions in Appendix C.
3. Organize small groups and break off into pairs. Have students tell about themselves: Where were they born? How long have they lived in their community/ neighbourhood? What would they like to do in the future?
4. In large groups, introduce storytelling, and review the course overview and stories that they have heard.
5. Have students go back to small groups, and retell any Aboriginal stories that they may have previously heard.
· Teach students to conduct peer- and self-evaluations in order to monitor student’s understanding of characteristics of stories and storytelling skills.
· Use verbal cues for important ideas in the story and to help students organize notes (e.g., The next important idea is . . .);
· Cue students regularly by asking questions and giving sufficient time for them to think and respond;
· Use a visual organizer/outline;
· Incorporate the use of several senses in presentations (e.g., use videos, CD-ROMs, drama, movement, music and hands-on experiences). Supplement language input with pictures, diagrams, etc. and vice versa;
· Review essential background knowledge, concepts, and vocabulary;
· Have students tape interviews, stories, or presentations;
· Make adjustments in expectations regarding quality and quantity of output.
Ahenakew, F., B. Gardipy, and B. Lafond, Native Voices. Toronto ON: McGraw-Hill Ryerson, 1993.
Bruchac, J. and G. Ross. The Girl Who Married the Moon: Tales from Native North America. New York: Troll Medallion, 1994.
Clark, E.E. Indian Legends of Canada. Toronto ON: McClelland & Stewart, 1960.
Collins, R., and P.J. Cooper. The Power of Story: Teaching through Storytelling. Scottsdale AZ: Gorsuch Scarisbrick Publishers, 1997.
Haynedohnees. Seneca Indian Stories. Greenfield Center NY: Greenfield Review Press, 1995.
Mitchell, M. Traditional Teachings. Rooseveltown NY: Akwesasne Notes, 1984.
Parker, A.C. Seneca Myths and Folktales. Lincoln NB: University of Nebraska Press, 1989.
Robinson, H., and W. Wickware. Write It on Your Heart: The Epic World of an Okanagan Storyteller. Vancouver BC: Talonbooks/ Theytus, 1989.
Time: 150 minutes
In this activity, students become familiar with the artifact sources of Aboriginal storytelling: birch bark scrolls, pictographs, petroglyphs, buffalo hides, wampum belts, and condolence canes. Students make the link between the sources of storytelling and the actual story. Students understand that stories contain various themes and that in some cases, some thematic stories (fictional) were told only during the winter months.
Strand(s): Identity and Relationships.
Overall Expectations:
· describe the elements of culture reflected in various art forms;
· produce Aboriginal art forms that portray Aboriginal culture;
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms.
Specific Expectations:
· explain how the traditional art forms of particular Aboriginal communities were produced;
· identify symbols found in the traditional and contemporary art forms of specific Aboriginal groups;
· explain how symbols represent specific Aboriginal cultures;
· identify the strategies and processes used to create traditional Aboriginal art forms;
· demonstrate understanding of the meaning of art forms in specific Aboriginal cultures (e.g., a case study of a visual artist or the meaning of West Coast symbols);
· identify Aboriginal multimedia art forms that have sovereignty as their theme.
· Consult local Aboriginal communities to determine the appropriate seasons for storytelling to occur (e.g., in some communities fictional stories can only be told during the winter months).
· Review the legend of symbols found in Appendix F. This familiarity helps provide more insightful discussion points related to student interpretations of symbols displayed in pictographic and petroglyphic images, condolence canes, wampum belts, and winter counts. For example, symbols of unity, nationhood, and responsibility are depicted on wampum belts and condolence canes; images of medicine and power can be seen in pictographs and petroglyphs; and images relating to retelling of historical events can be seen on winter counts.
· Become familiar with the story of the Great Law of Peace as seen through its symbols (see Tehanoretans, 1976; Mitchell, 1984; Thomas, 1994).
· It would be beneficial if the teacher could find props or hands on items to help facilitate discussion (e.g., sample beaded wampum belts, poster copies of pictographic images).
· Try to get the Petroglyph poster from Ministry of Natural Resources. It would serve as a starting point to discussion of important symbols in Aboriginal communities.
· Independent work habits;
· Collaborative work skills;
· Active listening skills;
· Excellent questioning skills.
1. Ask one or two students to retell the Seneca story "Where Stories Come From," as found in Clark, 1960. Ask students the meaning of the story. After students have responded, ensure they recognize that stories have always come from the natural forces of nature. The rock is one example of a natural force sharing its knowledge.
2. Large class activity: Using a poster of pictograph images, a slide of a pictograph, or an illustration of a condolence cane, have students list on the chalkboard and in their notes, and highlight possible meanings of the symbols. The teacher can review the responses with the students.
3. In small groups, have students create a story or research a story that interprets the pictographic image. Have students report back to the large group and retell their version of the stories. Praise and applaud their efforts.
4. Retell the story of "Loon Rock" (Maxine Trotter, University College of Cape Breton Press, 1996) or "The Great Peace" (The Great Peace CD-ROM). Explain how men and women in some Aboriginal cultures used to go to the forests to dream and seek information about the future. Point out that the pictographs may have been painted by young men or women or various shamans/medicine people. The painted imagery is a retelling of their experience. Point out that no one except for the owners of the image could accurately retell the stories, although they could be passed down through family members. We can only guess what the experiences were, but there are researchers (archaeologists) who study these images to provide clues. These people often refer to the stories of Elders and other peoples' interpretations. Refer to authors such as Dewdney, Conway, and Rajnovich.
5. Have students record their interpreted story in their response journals. In pairs, have students review their personal stories and create a series of symbols and images that tell of a moment from their summer vacation.
6. Introduce students to the use of a legend as a tool that will keep track of symbols and their meanings. This can be referenced from Appendix H: Legend of Aboriginal Symbols. Tell students that an image can have multiple meanings depending on the context and placement of the imagery. Have students use a legend to interpret a series of pictographic images as presented in Dewdney & Kidd and Rajnovich. From student work generate an understanding of the importance of animals and the elements of creation (e.g., moon, stars, sun, planets, earth) to human survival.
7. In their response journals, have students record the values and characteristics associated with certain animals (ideally those animals found in their local community): bear, eagle, beaver, otter, loon, muskrat, deer, heron, mouse, owl, turtle, fish, hawk, robin, hermit thrush.
· Teach students how to develop and use rubrics as a way to measure their progress.
· Use an observation checklist to monitor student understanding of how art forms were created. Using a rubric, evaluate students’ ability to identify and understand symbols found in art forms.
· Provide the student with a sequentially ordered list of the things he/she is expected to do;
· Structure the writing assignments and provide an outline (or encourage the students to make one);
· Incorporate the use of several senses in presentations (e.g., use videos, CD-ROMs, drama, movement, music, and hands-on experiences). Supplement language input with pictures, diagrams, etc. and vice versa;
· Divide tasks within a group of students according to strengths and abilities;
· Provide frequent monitoring, feedback, and reinforcement;
· Encourage the use of a computer for completing written work;
· Make adjustments in expectations regarding quality and quantity of output;
· Provide editing support, such as the use of a spell-check, grammar check, a checklist of editing and time, and reinforcement for these steps.
Conway, T. and J. Conway. Spirits on Stone: The Agawa Pictographs. San Luis CA: Heritage Discoveries, 1990.
Conway, T. and J. Conway. Painted Dreams. Minocqua WI: North Word Press, 1993.
Dewdney, S., and N. Morrisseau. Legends of My People. Toronto ON: University of Toronto Press, 1965.
Dewdney, S., and K. Kidd. Indian Rock Paintings of The Great Lakes. Toronto ON: University of Toronto Press, 1962.
Dewdney, S. The Sacred Scrolls of the Southern Ojibway. Toronto ON: University of Toronto Press, 1975.
Fredeen, G. "Stories in Stone." In Canadian Geographic, Vol. 111, No. 2: 22-28.
Johnston, B. Ojibway Heritage. Toronto ON: McClelland and Stewart, 1976.
McGhee, R. Ancient Canada. Ottawa ON: Canadian Museum of Civilization, 1989.
Ministry of Natural Resources. "Petroglyph Provincial Park Poster." Bancroft ON: Ministry of Natural Resources, 1986.
Parker, A.C. Seneca Myths. Lincoln NB: University of Nebraska Press, 1923.
Rajnovich, G. Reading Rock Art. Toronto ON: Natural History/Heritage, 1994.
Rockwell, D. Giving Voice to Bear. New York: Roberts Rinehart Publishers, 1991.
Tehanetorens. Wampum Belts. Onchiota ON: Six Nations Indian Museum, 1976.
Thomas, J. and T. Boyle. Teachings from the Longhouse. Toronto: Stoddard Publishing Co. Limited, 1994.
Trotter, M. Loon Rock. Cape Breton, NS: University College of Cape Breton Press, 1996.
Time: 150 minutes
Students continue to develop their listening skills by hearing the stories of creation from a variety of Aboriginal groups. By understanding the creation stories, students can begin to see the connections between the land and Aboriginal communities.
Strand(s): Identity and Relationships.
Overall
Expectations:
· describe the elements of culture reflected in various art forms
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms
· identify how specific Aboriginal art forms reflect aspects of the society that produced them
Specific Expectations:
· identify characteristics of art forms (e.g., totem poles, storytelling, songs) from various Aboriginal groups in Canada
· explain how Aboriginal art forms differ across Canada
· describe aspects of traditional and contemporary Aboriginal relationships, including the relationships of Aboriginal peoples among themselves to their communities and nations, to Canada, and to the natural environment
· compare relationships in the Aboriginal art forms of various Aboriginal cultures
· demonstrate understanding of the meaning of art forms in specific Aboriginal cultures (e.g., a case study of a visual artist or the meaning of West Coast symbols)
· In the next series of lessons, refer to Glossary for an explanation of types of Aboriginal stories. As in other sections of this unit, tell your stories rather than read them. Review notions of Trickster: be prepared to define the character for students (see Glossary);
· Select from the following stories: From Indian Legends of Canada (Clark, 1960): "Who Was Given Fire," "Coyote and the Salmon," "A Boy's Vigil and the First Robin," "A Boy's Vision and the First Corn," "The Origin of Niagara Falls"; from Tales of the Iroquois (Tehanetorens, 1976): "Thunder Boy," "The Hermit Thrush," "The Invention of the Bow and Arrow A Tradition," and "Why We have Mosquitoes"; from Tales that the Elders Told (Johnston, 1981): "The First Butterflies," "Why Birds Go South in the Winter," "How Bats Came To Be," and "How Dogs Came To Be"; from The Cree Elder Anthology (Wesley, 1998): "Cree Creation Story."
· Locate a slide or image that shows creation of life (e.g., Carl Ray’s “Recreation of the World After the Great Flood” (McMichael Art Gallery) or Ernest Smith’s “Sky Woman” (Berlo & Philips, 1998)).
· Active listening skills;
· Effective brainstorming skills;
· Effective questioning skills.
1. Retell several creation stories and have students discuss the similarities and differences among them. Incorporate the use of a slide such as Carl Ray's "Recreation of the World After the Great Flood" (c. 1975) or Ernest Smith's "Sky Woman" (c. 1936) in Berlo & Phillips, or Ray Fadden's "Imagery" in Akwesasne Notes Calendars.
2. Retell creation stories of animals and, in small groups, have students discuss similarities and differences of creation stories among Aboriginal cultures. Challenge students to answer why these stories exist (e.g., to provide an explanation of the creation of the world to others).
3. In small groups, have students research and retell or create and tell a creation story.
4. Have a student representative retell this story to the whole class.
5. Have students examine the prevalence of particular animals in different creation stories, (e.g., the snake, the spider in Cree origin stories). Challenge students to speculate on why certain animals have important roles. Do they symbolise something within the human mind?
6. As an extension, have students select an animal that they can relate to. Explain this affinity to others in their small group.
7. Set up the next class by defining trickster stories. For homework, have students find one type of trickster story to retell in the next class.
· Use an observation checklist to determine students’ understanding of relationships in Aboriginal art forms by observing student group activities;
· Use a rubric to assess students’ understanding of the characteristics found in art forms.
· Avoid oral presentations by students in front of peers unless the student volunteers or has had time to prepare the oral passage;
· Allow extra time for students to process and produce information orally in class discussion;
· Give immediate feedback on academic progress, group skills, and social skills;
· Use a visual organizer/outline;
· Divide tasks within a group of students according to strengths and abilities;
· Provide support with organizing assignments. Furnish or work together with the student to develop a visual organizer, outline, a list of headings, or key words, table or chart;
· Encourage the use of pictures, diagrams, charts, etc. as a starting point for oral or written responses;
· Make adjustments in expectations regarding quality and quantity of output;
· Allow taped or oral presentations.
Brass, E. Medicine Boy and Other Cree Tales. Calgary, AB: Glenbow Museum, 1979.
Clark, E.E. Indian Legends of Canada. Toronto, ON: McClelland and Stewart, 1960.
Cuthand, S. Nehiyaw Atoyokewina: Cree Legends Stories of Wisakecahk. Saskatoon, SK: Saskatchewan Indian Cultural Centre, 1973.
Hill, K. More Glooscap Stories: Legends of the Wabanaki Indians. Toronto, ON: McClelland and Stewart, 1970.
Johnston, B. By Canoe and Moccasin. Toronto, ON: Royal Ontario Museum, 1986.
Johnston, B. Tales that the Elders Told. Lakefield, ON: Wapoone Publishing & Promotion, 1981.
Reynolds, M. Dene Stories. Saskatoon, SK: Saskatchewan Indian Cultural College, 1979.
Tehanetorens. Tales of the Iroquois. Rooseveltown, NY: Akwesasne Notes, 1976.
Wesley, N. The Cree Elder Anthology. Moose Factory, ON: Partners in Change, 1998.
Native Legends. Ottawa ON: National Film Board, 1986, 22 min.
Thomas, J. The Creation Story. Six Nations ON: Jake Thomas Institute, 1992, 180 min.
The Woman Who Raised a Bear as Her Son. Ottawa ON: National Film Board, 1990, 30 min.
Time: 75 minutes
In this activity students have the opportunity to see the humour in Aboriginal stories as well as the serious aspects of Native culture. Students examine the concepts of exaggeration, slap-stick humour, and silliness to engage the audience to create a teaching point. As most trickster stories have a hidden value or a moral to them, students are expected to interpret the stories and identify the teaching points in them.
Strand(s): Identity and Relationships.
Overall
Expectations:
· describe the elements of culture reflected in various art forms;
· produce Aboriginal art forms that portray Aboriginal culture;
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms;
· produce art forms that demonstrate Aboriginal relationships.
Specific Expectations:
· identify characteristics of art forms (e.g., totem poles, storytelling, songs) from various Aboriginal groups in Canada;
· produce art forms that demonstrate understanding of the art form characteristics of a specific Aboriginal culture;
· describe how their art forms demonstrate the relationships of Aboriginal peoples to themselves, their families, their communities (including gender roles), their nations, Canada, and the natural environment;
· identify materials (e.g., tobacco, sage, deer hide) that demonstrate specific relationships among Aboriginal peoples and their environments, including people;
· demonstrate understanding of the meaning of art forms in specific Aboriginal cultures (e.g., a case study of a visual artist or the meaning of West Coast symbols).
· See Glossary for notes referring to a description of trickster and trickster stories. Explain that not all Aboriginal cultures had trickster stories, but all had some version of it that called attention to building character. Encourage students to add a bit of fun to their storytelling. Trickster stories are meant to be funny in various ways.
· Provide the class with a variety of Trickster stories/anthologies from the library/resource centre.
· Critical listening skills.
1. Have students retell the main points of the following stories: From Indian Legends of Canada (Clark, 1960): "Some Adventures of Wisakajac," "Coyote and the Salmon," "Coyote and the Old Man," "Glooscap and His Four Visitors," "Nanaboshoo of the Chippewa"; from Tales of the Iroquois (Tehanetorens, 1976): "The Hermit Thrush," "The Flying Head," "Sagoianawasai, Our Grandfather"; from Tales that the Elders Told (Johnston, 1981): "Nanabush and the Ducks," "The First Butterflies."
2. Ask students for a summary of the previous day's lesson. Ask for a student volunteer to retell a trickster story that they found or heard. The teacher formally introduces Trickster by retelling several different types of creation stories in which Trickster features prominently (e.g., "Close Your Eyes Dance," "Nanabush and the Dogs," "How Moose Got Loose Skin," "Why the Buzzard Has a Bald Head"). Students use print materials from the library to read stories that feature Trickster.
3. In their notebooks, have students create a list of characteristics that are found in trickster stories. Have students report their findings to their small group, then discuss the results in the large group. The teacher lists traits found in Trickster stories on the chalkboard. Students, in pairs, are assigned a trickster: fox, Glooscap, Wisakajac, Nanabush, Coyote, or Raven. Ask students to create their own trickster stories. Students tell their newly created stories to their small group. The small group then selects one to be told in the large group setting.
4. For homework, have students question their parents and grandparents for locations of places that they have lived.
The following activities can be offered as substitutions to the above listed activities:
5. Dramatize a trickster story. Have students write a script, rehearse and perform their own story. Have some students develop skills related to video camera production and videotape the stories. A possible theme that could be addressed by the play is an incident in their lives where humour played a role in their learning an important lesson.
6. Invite an elder or Aboriginal community member into the classroom to describe the importance of humour in Aboriginal cultures.
7. Building on an earlier lesson, have students convey a funny incident using pictographs.
· The teacher uses a rubric to assess student understanding of the characteristics of an art form;
· Students are provided with verbal feedback affirming their understanding of art forms relating to the natural environment.
· Use a visual organizer/outline to which to refer;
· Incorporate the use of several senses in presentations (e.g., use videos, CD-ROMs, drama, movement, music and hands-on experiences). Supplement language input with pictures, diagrams, etc. and vice versa;
· Pair students appropriately for reading activities; have them take turns reading or if necessary, have a better reader read to or make a tape of reading material, while the weaker reader follows along (or provide teacher-made or commercial tapes);
· Provide support with organizing assignments. Furnish or work together with the student to develop a visual organizer, outline, a list of headings, or key words, table or chart;
· Provide a template or structure for responding; provide examples of the end product expected;
· Make adjustments in expectations regarding quality and quantity of output.
Ahenakew, B., and S. Harlotte. Nehiyaw A-Tayoka-we-na Cree Legends Stories of Wisakecahk. Saskatoon, SK: Saskatchewan Indian Cultural College, 1977.
Bruchac, J. Flying with the Eagle, Racing the Great Bear. New York: Troll Medallion, 1993.
Clark, E.E. Indian Legends of Canada. Toronto, ON: McClelland and Stewart, 1960.
Cuthand, S. Nehiyaw Atoyokewina Cree Legends Stories of Wisakecahk. Saskatoon, SK: Saskatchewan Indian Cultural Centre, 1973.
Hill, K. More Glooscap Stories: Legends of the Wabanaki Indians. Toronto, ON: McClelland and Stewart, 1970.
Johnston, B. By Canoe and Moccasin. Toronto, ON: Royal Ontario Museum, 1986.
Johnston, B. Tales that the Elders Told. Lakefield, ON: Wapoone Publishing & Promotion, 1981.
Tehanetorens. Tales of the Iroquois. Rooseveltown, NY: Akwesasne Notes, 1976.
Legends and the Life of the Inuit. Ottawa, ON: National Film Board, 1978, 58 min.
Native Legends. Ottawa, ON: National Film Board, 1986, 22 min.
Raven's Feather Dance – A Creation Legend. Ottawa, ON: National Film Board, 1990, 9 min.
Bruchac, J. Iroquois Stories. Greenfield Centre, NY: Good Mind Records, 1988.
Bruchac, J. The Boy who lived with the Bears. New York: Harper-Collins Publishers, 1990.
Stewart, J.J. Legends: I am an Eagle. Sioux Lookout, ON: First Nations Music Inc., 1990.
Time: 225 minutes
In this activity, students are offered an opportunity to explore the relationship between ceremonial stories and historical/relocation incidents. Acknowledgement of non-fictional stories represents the renewal and revitalization of Aboriginal communities. For example, students trace the movement/path of one group of people in one account and in another students become familiar with the origin of various ceremonies.
Strand(s): Identity and Relationships.
Overall Expectations:
· demonstrate understanding of how Aboriginal art forms reflect cultural identity;
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms;
Specific Expectations:
· explain the creation of Aboriginal art forms as a way of maintaining the values, traditions, and beliefs of particular communities;
· explain the importance of an art form to a cultural group;
· produce art forms that demonstrate understanding of the art form characteristics of a specific Aboriginal culture;
· identify various reasons for the creation of Aboriginal art (e.g., functional, moral/spiritual, social/political, decorative/aesthetic);
· interpret the meaning of Aboriginal art forms in the context of tradition, contemporary art, and today’s society;
· describe aspects of traditional and contemporary Aboriginal relationships, including the relationships of Aboriginal peoples among themselves to their communities and nations, to Canada, and to the natural environment;
· describe how their art forms demonstrate the relationships of Aboriginal peoples to themselves, their families, their communities (including gender roles), their nations, Canada, and the natural environment;
· demonstrate understanding of the meaning of art forms in specific Aboriginal cultures (e.g., a case study of a visual artist or the meaning of West Coast symbols).
· Teachers should be able to take one relocation pattern and retell the story to the students (e.g., the "Migration of the Anishnabe," as found in E. Benton, The Mishomis Book, or the migration of Iroquoian peoples from upper New York State, as in Tales of the Iroquois). Compare these stories to the current movement of the people of northern reserves to southern localities. Use information from news stories;
· Teachers are encouraged to learn several stories (see Clark, 1960; Benton, 1976; Four World’s Development, 1985) that tell of the origin of particular ceremonies (e.g., the sweat lodge, the pipe, ceremonies of thanksgiving, and the meaning and significance related to sweetgrass, sage, cedar, and tobacco);
· Consider the following stories:
a) Migration: from Tales of the Iroquois, "The Migration of the Iroquois" and from The Mishomis Book (Benton-Banai, 1979), Chapter 14, "The Migration of the Anishnabe"; Inuit relocation from Baffin Island in Qitdlarssuag; Cree movement in James Bay;
b) Ceremonial: from Indian Legends of Canada (Clark, 1960), "The Guardian Spirit Quest," "The Origin of Seneca Medicine," "The Origin of Iroquois Medicine," "The First Tobacco," "The Origin of Cedar Trees," "The Origin of the Sweat-house," "The Origin of the Beaver Bundle," "The Origin of the Sundance," and "The Origin of the Sundance Song";
c) Ceremonial: from Tales of the Iroquois (Tehanetorens, 1976), "The Gift of the Great Spirit," "The Discovery of Fire - a tradition," "The Great Gift, Tobacco," "The Rabbit Dance," and "The Seven Dancers";
· Students may be required to use computer skills in order to research contemporary or historical migrations.
· Active listening and questioning skills
· Research skills related to searches in the library and the computer
· Computer skills: word processing and Internet search skills
1. Review homework, where students questioned their families for locations of places that they have lived. Plot these locations on a map. Ask students to tell, in their small groups, why their families moved. Have students summarize why people moved. Bring these results to the large group, where the teacher will record them on chart paper.
2. Tell two stories of migration (e.g., the Anishnabe story (see Benton) and the Relocation of Iroquois from the Hudson Valley to New York State and Canada (see Tehanetorens). Compare and discuss the similarities and differences between the two movements. Have students compare these stories to contemporary urban Aboriginal migration. Discuss how these movements are similar and yet different.
3. Have students research and tell why and how their local community came to be. Develop a formal report and submit for evaluation. Have students list their sources of information. Encourage students to be creative with their presentation forms (e.g., use a video presentation, create a dramatic play that outlines the history for the rest of the class, or record an interview with an Elder.)
4. Tell various stories of ceremonial events (e.g., the dream catcher story, the origin of cedar, the origin of the sweat lodge, how the women's dance came to celebrate the gifts of corn). Discuss with students the main elements of the stories (e.g., plot, main characters, reasons for creating the particular item).
5. Invite a resource person to help students make a dream catcher, using wood and brass hooping material and waxed polyester. Explain why the dream catcher was used in certain Native cultures.
6. After students have completed the dream catcher, discuss the role of craft work in Aboriginal communities. What kinds of craft materials or objects are produced? Based on their newly acquired experience, could they see themselves earning a livelihood from making dream catchers? What about other crafts?
7. Continue the discussion by asking similarly posed questions: How does craft work help people? What is the aim of Native craft work? Who benefits from the production of craft work?
· Use a rubric to assess a written migration story to understanding how stories can connect a people to culture and community;
· Use a rubric to assess a dream catcher to acknowledge a student’s ability to use natural materials to produce an art form that conveys an Aboriginal belief;
· The student completes a peer-assessment of their group members understanding of the importance of stories as a way of maintaining values and traditions within a cultural group.
· Allow extra time for students to process and produce information orally in class discussion;
· Incorporate the use of several senses in presentations (e.g., use videos, CD-ROMs, drama, movement, music and hands-on experiences). Supplement language input with pictures, diagrams, etc. and vice versa;
· Pair students appropriately for reading activities; have them take turns reading or if necessary, have a better reader read to or make a tape of reading material, while the weaker reader follows along (or provide teacher made or commercial tapes);
· Provide individual explanations of what is expected, with examples, and gain feedback from the student;
· Divide tasks within a group of students according to strengths and abilities;
· Provide frequent monitoring, feedback and reinforcement;
· Make adjustments in expectations regarding quality and quantity of output;
· Provide editing support, such as the use of a spell-check, grammar check, a checklist of editing and time and reinforcement for these steps.
Benton, E. The Mishomis Book: The voice of the Ojibway. St. Paul, MN: The Red School House, 1984.
Clark, E.E. Indian Legends of Canada. Toronto, ON: McClelland and Stewart, 1960.
Johnston, B. Ojibway Ceremonies. Toronto, ON: McClelland and Stewart, 1982.
Tehanetorens. Tales of the Iroquois. Rooseveltown, NY: Akwesasne Notes, 1976.
Time: 150 minutes
This activity enables students to develop an awareness of Aboriginal personalities who are making and have made an impact upon both Aboriginal and non-Aboriginal communities. Students use their listening and reading skills to become familiar with anecdotal and biographical stories. Students are expected to seek out an Aboriginal community member who represents a positive role model and develop a short biography.
Strand(s): Identity, Relationships, Challenges.
Overall
Expectations:
· demonstrate understanding of how Aboriginal art forms reflect cultural identity;
· produce Aboriginal art forms that portray Aboriginal culture;
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms;
· explain how art forms are a means for promoting dialogue and healing in Aboriginal communities.
Specific Expectations:
· describe the contributions of Aboriginal artisans to Canadian society (e.g., Tomson Highway - theatre; Graham Greene - acting; Pauline Johnson - poetry; Robbie Robertson - music; various Inuit sculptors)
· describe aspects of traditional and contemporary Aboriginal relationships, including the relationships of Aboriginal peoples among themselves to their communities and nations, to Canada, and to the natural environment;
· explain what Aboriginal artists or artisans might have been trying to express through their work;
· explain how art forms are expressions of the celebration of Aboriginal peoples;
· create Aboriginal-style art forms that promote dialogue related to healing and affirmation;
· produce Aboriginal-style art forms that use a multimedia approach to portray personal identity.
· In this activity, students are expected to interview someone - ideally an Aboriginal person - and record their answers in the form of a narrative. Be prepared to spend time listing types of questions that one could ask. Develop a resource list of people beforehand (make contact with prospective subjects and get their permission) in case some students have trouble locating an individual;
· Retell some of the following stories: from Indian Legends of Canada (Clark, 1960), "The Little People and the Greedy Hunters," "The Punishment of the Witches," "The Seneca Peacemaker," "The Dream of Little Raven"; from Tales of the Iroquois (Tehanetorens, 1976), "The Fierce Beast," "The Story of the Monster Bear, The Great Dipper," "The Formation of the Iroquois Confederacy," and "The Code of Handsome Lake";
· From Tapping the Gift (Assembly of Manitoba Chiefs, 1992), have students read Theoren Fleury, Angela Chalmers, and Thomson Highway. From Honour Song (B. Hagar, 1996), have students read Verna Kirkness, Douglas Cardinal, and Shania Twain;
· Depending upon resources, teachers may offer the opportunity for students to do some career exploration. They may interview someone from a cross-section of employment situations.
· After students have finished interviewing someone, it is important to help students convert their notes into a narrative. Computer resources may be appropriate at this time.
· As an alternative, teachers may offer students the opportunity to do research using a combination of web and print resources.
· Interview questioning skills
· Ability to use a cassette player
· Ability to work independently
1. Tell several personal stories to students or, as an alternative, use the NFB video, Keepers of the Fire. Ask students to discuss how it is different or similar to their own lives. In small groups, have students tell of an important event in their life.
2. Discuss with the class why these types of stories are important (e.g., the development of positive self-esteem, positive self-imaging of cultural groups, and providing possibilities for successful dreams). Point out that role modelling stories are important for all students, especially if they want to make changes in the world.
3. Examine other types of stories that feature the exploits of successful individuals (e.g., Aboriginal Achievement Awards, The Rez, North of 60). How do these stories contribute to community pride or community rejuvenation? As a group, have students list the characteristics of successful people.
4. In groups of two or three, students collectively create an anthology of community members. Discuss with students which people in the community might be available for an interview. Give students time to generate a list of guided questions that will be useful for conducting an interview. Write a list of sample questions on the chalkboard. Have students hand in their completed questions for review, and ensure that students are stating the purpose of the interview at the beginning of their questions.
5. Discuss with students appropriate procedure for meeting with community people. And advise then that they need to get a signed release form from the individual, especially if they plan to tape record or videotape them.
6. Have students go into the community to conduct interviews after school.
7. After interviews have been completed, review results with student groups individually, and offer some suggestions on how to convert their data into a narrative for presentation. Encourage the use of media products such as video or audio presentations.
· Use verbal feedback to clarify misinterpretations related to understanding how narrative stories affirm Aboriginal cultures, and what artists are trying to present through their stories;
· Use an observation checklist to monitor the group discussion related to understanding the contributions of Aboriginal peoples and their relationship to Aboriginal communities, and Canada;
· Use a rubric to evaluate the production of an art form that will demonstrate an understanding of how this kind of story contributes to healing and dialogue in Aboriginal communities.
· Incorporate the use of several senses in presentations (e.g., use videos, CD-ROMs, drama, movement, music and hands-on experiences). Supplement language input with pictures, diagrams, etc. and vice versa;
· Provide explicit step-by-step instructions in a checklist format, with time lines for completion, to assist the student in organizing work;
· Provide a template or structure for responding; provide examples of the end product expected;
· Encourage the use of a computer for completing written work; encourage the use of pictures, diagrams, charts, etc. as a starting point for oral or written responses;
· Encourage the student to incorporate his/her areas of strength and interest into the project, including content, research, and output areas (e.g., visual, artistic, creative, interpersonal, humour, drama, oral);
· Make adjustments in expectations regarding quality and quantity of output.
Assembly of Manitoba Chiefs. Tapping the Gift. Winnipeg, MB: Assembly of Manitoba Chiefs, 1992.
Brant, B. I'll Sing 'til the Day I Die. Toronto, ON: McGilligan Books, 1995.
Clark, E.E. Indian Legends of Canada. Toronto, ON: McClelland and Stewart, 1960.
Hagar, B. Honour Song. Vancouver, BC: Talonbooks, 1996.
Ahenakew, F., B. Gardipy, and B. Laford. Voices of the First Nations: The Senior Issues Collection. Toronto, ON: McGraw-Hill Ryerson, 1995.
Tehanetorens. Tales of the Iroquois. Rooseveltown, NY: Akwesasne Notes, 1976.
Beauty of My People: The Art of Arthur Shilling. Ottawa, ON: National Film Board, 30 min.
Bill Reid. Ottawa, ON: National Film Board, 1979, 27 min.
Claxton, D. Yuxweluptun: Man of Masks. Ottawa, ON: National Film Board, 1998, 21 min.
Henry, A. Totem Talk. Ottaw,a ON: National Film Board, 1998, 22 min.
Lypa. Ottawa, ON: National Film Board, 1988, 30 min.
Moccasin Flats. Ottawa, ON: National Film Board, 1991, 27 min.
Obomsawin, A. My Name is Kahentiiosta. Ottawa, ON: National Film Board, 1995, 30 min.
Obomsawin, A. Spudwrench. Ottawa, ON: National Film Board, 1997, 30 min.
Rickard, P. Okimah. Ottawa, ON: National Film Board, 1998, 51 min.
Return to Eagle Rock: The Art of Roy Henry Vickers. Ottawa, ON: National Film Board, 1996.
Welsh, C. Keepers of the Fire. Ottawa, ON: National Film Board, 1994, 55 min.
Welsh, C. Women in the Shadows. Ottawa, ON: National Film Board, 1991, 56 min.
Time: 150 minutes
In this activity, students examine stories from Ojibway, Cree, and Iroquoian cultures. In many communities, these stories provided an opportunity to correct and modify the behaviour of their children.
There were many kinds of stories told only in the evenings; these included: windigo/wetiko stories, stories of water beasts, little people stories, scary stories, and stories from dreams. Students will become familiar with the wide range of published stories, and are expected to contribute their own family stories.
Strand(s): Identity and Relationships.
Overall Expectations:
· describe the elements of culture reflected in various art forms;
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms.
Specific Expectations:
· identify characteristics of art forms (e.g., totem poles, storytelling, songs) from various Aboriginal groups in Canada;
· explain the creation of Aboriginal art forms as a way of maintaining the values, traditions and beliefs of particular communities;
· produce sketches of symbols and images used in traditional art forms;
· produce art forms that demonstrate understanding of the art form characteristics of a specific Aboriginal culture;
· describe aspects of traditional and contemporary Aboriginal relationships, including the relationships of Aboriginal peoples among themselves to their communities and nations, to Canada, and to the natural environment.
· Refer to John Columbo's anthology of Windigo. It serves as an excellent overview of phenomena. Paul Kane has also referred to Windigo while travelling around Lake of the Woods. James Stevens, along with Carl Ray, provides a wonderful array of stories. The Iroquoian communities did not use Windigo, instead they had a different set of stories such as the two-headed serpent and the headless dwarf. Joseph Bruchac provides readers with some excellent stories.
· After telling a variety of serpent and headless stories, invite students to create their own images. Be prepared to have a variety of art materials for students to illustrate their stories.
· If one has access to material of the West Coast, consider searching for stories related to Hamatsa, which provided the same function as Windigo and two-headed serpents.
· Collaborative work skills
· Active listening skills
· Brainstorming skills
· Independent work skills
· Creative problem solving
1. Ask students to close their eyes and to try and remember what they see as a result of the storytelling. Tell several stories, ask students to describe the beings that they visualized as you told the story. In small groups, have students outline the characteristics of the supernatural beings. Encourage students to defend their answers. As a large class, clarify the notions related to supernatural beings.
2. Question students about why Windigo is important to Ojibway and Cree cultures.
3. Tell other stories for comparative purposes (e.g., if one used Iroquoian stories initially, then tell Ojibwa/Cree Windigo stories, or if one told Windigo stories initially, then reverse it). Explore the similarities and differences between Iroquoian and Windigo stories by creating a list that students will copy in their response journals.
4. Discuss the importance of scary stories (e.g., for entertainment, social control, to objectify one's fears).
5. In small groups, have students retell stories that their parents or grandparents used to get them to bed.
6. Have students create a 3-dimensional image of Windigo or supernatural representation from Iroquoian imagery. For example, use papier mâché or plasticine to create their image.
7. Encourage students to discuss in groups, how Windigo and other creatures become part of our everyday lives. As well, discuss with students the importance of these stories to the history of a people.
· Use verbal feedback to clarify ideas relating to understanding the characteristics of scary stories among different Aboriginal groups;
· Use an observation checklist to monitor the group discussion related to understanding how scary stories reflect Aboriginal relationships to the environment and to its community members;
· Develop a rubric to evaluate the production of an art form that demonstrates an understanding of how this image maintains the values, traditions, and beliefs of particular communities.
· Use verbal cues for important ideas in the story and to help students organize notes (e.g., The next important idea is . . .);
· Incorporate the use of several senses in presentations (e.g., use videos, CD-ROMs, drama, movement, music and hands-on experiences). Supplement language input with pictures, diagrams, etc. and vice versa;
· Provide a template or structure for responding; provide examples of the end product expected;
· Divide tasks within a group of students according to strengths and abilities;
· Pair students appropriately for reading activities; have them take turns reading or if necessary, have a better reader read to or make a tape of reading material, while the weaker reader follows along (or provide teacher-made or commercial tapes).
Bruchac, J. Iroquois Stories, Heroes and Heroines Monsters and Magic. New York: Troll Medallion, 1985.
Clark, E.E. Indian Legends of Canada. Toronto, ON: McClelland and Stewart, 1960.
Columbo, J.R. Windigo. Toronto, ON: McClelland and Stewart, 1988.
Cornplanter, J.J. Legends of the Longhouse. Ohsweken ON: Iroqrafts, 1938.
Johnston, B. Tales of the Anishinaubaek. Toronto, ON: Royal Ontario Museum, 1993.
Johnston, B. The Bearwalker and Other Stories. Toronto, ON: Royal Ontario Museum, 1995.
Johnston, B. The Star-Man and other Tales. Toronto, ON: Royal Ontario Museum, 1997.
Merasty, M. and C. Savage, (ed). The World of Wetiko. Saskatoon, SK: The Saskatchewan Indian Cultural College, 1974.
Schwartz, H.R. Windigo and Other Tales of the Ojibway. Toronto, ON: McClelland and Steward, 1969.
Bruchac, J. Iroquois Stories. Greenfield Centre, NY: Good Mind Records, 1988.
Bruchac, J. The Boy who lived with the Bears. New York: Harper-Collins Publishers, 1990.
Tehanetorens. The Gift of the Great Spirit: Iroquois Lesson Stories. Greenfield Centre, NY: Good Mind Records, 1988.
Time: 150 minutes
This activity enables students to develop an awareness of stories in video presentations. Students examine the kinds of stories presented by Aboriginal directors and develop an understanding of some issues related to Aboriginal people in video, news, and films.
Strand(s): Identity, Relationships, and Challenges.
Overall
Expectations:
· demonstrate understanding of traditional Aboriginal forms of expression and their influence on the portrayal of Aboriginal identity in contemporary art forms;
· identify how specific Aboriginal art forms reflect aspects of the society that produced them;
· produce art forms that demonstrate Aboriginal relationships;
· explain how art forms are a means for promoting dialogue and healing in Aboriginal communities;
· identify how new and evolving art forms reclaim, revive, and sustain Aboriginal cultures.
Specific Expectations:
· describe gender roles in the creation and maintenance of traditions, values and beliefs in traditional and contemporary Aboriginal art forms; describe the contributions of Aboriginal artisans to Canadian society (e.g., Tomson Highway - theatre; Graham Greene - acting; Pauline Johnson - poetry; Robbie Robertson - music; various Inuit sculptors);
· produce art forms, using multimedia approaches to illustrate various relationships to the natural environment;
· compare relationships in the Aboriginal art forms of various Aboriginal cultures;
· explain what Aboriginal artists or artisans might have been trying to express through their work;
· explain how traditional forms of expression influence modern designs in Aboriginal art forms;
· demonstrate understanding of issues related to the production, ownership and display of Aboriginal art forms;
· explain how stereotypical messages are expressed in art forms;
· create Aboriginal-style art forms that promote dialogue related to healing and affirmation.
· In this activity students are expected to view several videos in order to determine and appreciate the nature of Aboriginal stories found in video and film. Use related questions from Appendix B: Decoding Stories to help guide students in understanding how videos can be used to present the perspectives of Aboriginal people and their communities.
· It is recommended that not all of the listed videos be watched: be selective and choose one or two. It may be that you can use a video later in the program for another purpose (e.g., Moccasin Flats or Keepers of the Fire can be used in Trickster stories, and personal narratives respectively.
· Preview videos before presenting them to students. Ensure that follow-up is provided after viewing each video.
· Use the following videos: Keepers of the Fire, For Angela, Mocassin Flats, Kanehsatake: 270 Years of Resistance, or any story that provides a non-fictional account of an Aboriginal issue. A word of caution related to For Angela, this video is highly charged emotionally and issues that arise need to be treated with sensitivity and care.
· Interpreting, viewing, and listening skills
1. If students have watched the NFB video, Keepers of the Fire, use it as a starting point and review the story line. For example, the following could serve as guiding questions: What do the students learn about Aboriginal lifestyles? Whose perspective was presented in the video? Where does the data or information presented in the video come from? Encourage students to think about how this type of video is created (e.g., in terms of research).
2. Have students watch For Angela. After viewing the video, have students, in groups, map out the storyline. Introduce concepts related to racism and stereotyping. Ask students to consider and discuss the feelings expressed by various characters within the video. In small groups, discuss whether the solution presented in the video is appropriate. Note that some stories in video will offer fictional accounts and yet have a serious message, as found in Mocassin Flats and Smoke Signals.
3. View the video Mocassin Flats. (If this video was used earlier in trickster stories, retell the story and go on with the following activity). With students, outline the important elements of the video (e.g., humour, identity, contemporary nature). In a teacher-directed discussion, have students understand how Aboriginal directors can apply Aboriginal values and the storytelling technique to a contemporary medium of communication.
4. Watch the video Kanehsatake: 270 Years of Resistance. Before viewing the video, ensure that students have pen and paper available so if they have questions or find that something is not clear, they can record it. After viewing, place students in small groups and have them outline unresolved issues or questions that do not seem to be answered in the video. Have students summarize their information and clarify and refine their questions. Give students an opportunity to seek answers by visiting the school library/resource centre in order to access the Internet or print material. Encourage students to use a variety of artistic and creative approaches in developing a response to their own questions (e.g., video production, development of a board game, audio interview, oral dramatization).
5. In a teacher-directed manner, point out to students the importance of video in enabling Aboriginal peoples to tell their story. As well, highlight the importance of Aboriginal people learning how to manipulate technology in order to create presentations which honour or reflect their values.
6. Students may explore the opportunities for employment by doing a search of web sites relating to Aboriginal video, film, and acting possibilities. For example, write a narrative report outlining the role and function of Aboriginal acting organizations or outline the steps for becoming involved in film and video productions.
· Use verbal feedback to clarify ideas related to understanding how gender roles help to maintain traditions, values, and beliefs in Aboriginal groups of Canada and the role that Aboriginal artisans play in maintaining traditions;
· Use an observation checklist to monitor group discussion related to understanding the specific characteristics of video storytelling and how directors are able to blend traditional forms of expressions within contemporary video productions;
· Develop a rubric to evaluate the production of narratives (in video, print, or live) that will demonstrate an understanding of how the video promotes healing and affirmation of Aboriginal identity.
· Use a visual organizer/outline to which to refer;
· Provide a template or structure for responding; provide examples of the end product expected;
· Divide tasks within a group of students according to strengths and abilities;
· Provide a sequentially ordered list of things to research;
· Substitute oral presentations for written when possible;
· Provide frequent monitoring, feedback, and reinforcement.
Moccasin Flats. Ottawa, ON: National Film Board, 1991, 27 min.
Obomsawin, A. Kanehsatake: 270 Years of Resistance. Ottawa, ON: National Film Board, 1993, 117 min.
Prouty, D. For Angela. Ottawa, ON: National Film Board, 1994, 25 min.
Welsh, C. Keepers of the Fire. Ottawa, ON: National Film Board, 1994, 55 min.
Time: 75 minutes
In this activity, students have the opportunity to review the content that they have covered in previous activities. In particular, they can identify the various types of stories used by Aboriginal storytellers.
Strand(s): Identity.
Overall
Expectations:
· demonstrate understanding of how Aboriginal art forms reflect cultural identity.
Specific Expectations:
· explain how symbols represent specific Aboriginal cultures;
· interpret the meaning of Aboriginal art forms in the context of tradition, contemporary art, and today’s society.
· Create a method for summative assessment involving the use of audiotapes.
· The teacher requires a tape cassette player and two storytelling tapes: I am an Eagle (Stewart, 1993) and The Boy Who Lived With the Bears (Joseph Bruchac).
· Using The Power of Story: Teaching through Storytelling (R. Collins and P.J. Cooper, 1997), outline to students characteristics of effective storytellers. (See Appendix A).
· Independent work habits.
1. Recap previous lessons in this unit of study.
2. Have students listen to the tape recordings of various stories, identify the type of story, and list the values being shared by the story.
3. Introduce Unit 2 and explain how understanding the characteristics of the stories will provide an understanding of artists' presentations.
· Use an observation checklist to assess individual responses related to identifying symbols that reflect a cultural group and understanding of how the art forms reflect the cultural identity of a particular group.
· Divide the test into parts and give students one part at a time to complete.
· Vary the level of difficulty of the test questions.
· Provide students with sample questions similar to those on the test so they have the opportunity to practise.
· Use a visual organizer/outline to which to refer.
· Review essential background knowledge, concepts and vocabulary.
· Provide individual explanations of what is expected, with examples, and gain feedback from the student.
· Make adjustments in expectations regarding quality and quantity of output.
· Allow taped or oral presentations.
Collins, R., and P.J. Cooper. The Power of Story: Teaching through Storytelling. Scottsdale, AZ: Gorsuch Scarisbrick Publishers, 1997.
Robinson, H., and W. Wickware. Write It on Your Heart: The Epic World of an Okanagan Storyteller. Vancouver, BC: Talonbooks/ Theytus, 1989.
Bruchac, J. Iroquois Stories. Greenfield Centre, NY: Good Mind Records, 1988.
Bruchac, J. The Boy who lived with the Bears. New York: Harper-Collins Publishers, 1990.
Stewart, J.J. Legends: I am an Eagle. Sioux Lookout, ON: Wawatay Productions, 1990.
Tehanetorens. The Gift of the Great Spirit: Iroquois Lesson Stories. Greenfield Centre, NY: Good Mind Records, 1988.
Continue to Unit 2 |
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