UNIT 1: IDENTITY
IDENTITY THROUGH PRINT
Duration 4-periods
(Period 1)
GOAL: To determine what Identity is and how Native writers use it.
JOURNAL ENTRY #1
Respond to the phrase: Who am I? (Hint: describe yourself, your looks, your personality, your senses, your family, the things that went into making who you are today.) What does it mean to be you?
ABORIGINAL IDENTITY
Who is native? View clip “Club Native” NFB bookmarks.
DISCUSS
Does Art imitate life or does life imitate art?
“If we say that someone is like a _(Clown)__ does that make him/her a clown? And if that person gets attention do they them try to act like a clown all the time.
We’re stepping into a world of stereotypes. Are native people always destined to play “natives” in movies, or can they perform as doctors, lawyers, policemen without the issue of their “native ness” coming up. Does someone of Scottish ancestry, in the movies, have to where a kilt all the time?
Reversal
ACTIVITY #1 Essay (cultural background)
Write a one page discourse on your cultural/family background.
Paragraph 1: Who are you and where do your ancestors come from.
Paragraph 2: How do family members effect you? Do you have any characteristics that are said
to belong to another family member? Describe them and how you feel about them. What are the strengths and weakness of this?
Paragraph 3: How do you think other people perceive you? Are you stereotyped? If you are
what do you think about this? What would it take for someone to get to know you?
Paragraph 4: Conclude by restating who you are, whether your identity is still developing, or it
is fixed. If fixed describe what is fixed, if not, describe what you want to develop.
UNIT 1
IDENTITY THROUGH PRINT
Duration 4-periods
(Period 2)
ACTIVITY #2 Telling a lie
Pair/share/work
Your job here is to tell a lie. You will pick, from a hat a piece of paper. On that paper will be a personality characteristic. Some personality characteristics will include: Rude, Well Mannered, Negative, Funny, Silly, Happy, Dramatic, Loveable, And Compassionate. The actor is not allowed to reveal the characteristic.
The person who is not acting has to ask a number of questions and in the process of having the question reveals what type of person their partner is.
Fill in the following matrix:
Questions asked | Answers | Revealed character trait |
DISCUSSION
- Answer the following question: At what point in time did you know, for sure what character your partner was revealing?
SWITCH
JOURNAL ENTRY #2 How can you convince someone of something about you, even though it is true? Make sure your answer has an intro, middle and end.
UNIT 1
IIDENTITY THROUGH PRINT
Duration 4-periods
(Period 2 -3)
Identities Revealed through Print
Q- What are some of the ways people reveal things about themselves? How are these things revealed?
Writing a journal or a diary is a very private act, yet, at the same time it is for someone, either yourself or another. Generally writing in a journal or a diary involves material that goes beyond description. The writing contains observations, feelings, emotions, the stuff literature is built on. Nobody writes anything when there is nothing to say.
Firstly, how does writing reveal identity. Let’s try the following exercise.
- Let’s read out load with the class the following case.
The Attorney General of Canada
General for Alberta
Services of Toronto Inc. Interveners
Indexed as: R. v. Gladue
File No.: 26300.
1998: December 10; 1999: April 23.
Present: Lamer C.J. and L’Heureux‑Dubé, Gonthier, Cory, Iacobucci, Bastarache and Binnie JJ.
on appeal from the court of appeal for british columbia
Criminal law ‑‑ Sentencing ‑‑ Aboriginal offenders ‑‑ Accused sentenced to three years’ imprisonment after pleading guilty to manslaughter ‑‑ No special consideration given by sentencing judge to accused’s aboriginal background ‑‑ Principles governing application of s. 718.2(e) of Criminal Code ‑‑ Class of aboriginal people coming within scope of provision ‑‑ Criminal Code, R.S.C., 1985, c. C‑46, s. 718.2(e).
The accused, an aboriginal woman, pled guilty to manslaughter for the killing of her common law husband and was sentenced to three years’ imprisonment. On the night of the incident, the accused was celebrating her 19th birthday and drank beer with some friends and family members, including the victim. She suspected the victim was having an affair with her older sister and, when her sister left the party, followed by the victim, the accused told her friend, “He’s going to get it. He’s really going to get it this time”. She later found the victim and her sister coming down the stairs together in her sister’s home. She believed that they had been engaged in sexual activity. When the accused and the victim returned to their townhouse, they started to quarrel. During the argument, the accused confronted the victim with his infidelity and he told her that she was fat and ugly and not as good as the others. A few minutes later, the victim fled their home. The accused ran toward him with a large knife and stabbed him in the chest. When returning to her home, she was heard saying “I got you, you fucking bastard”. There was also evidence indicating that she had stabbed the victim on the arm before he left the townhouse. At the time of the stabbing, the accused had a blood‑alcohol content of between 155 and 165 milligrams of alcohol in 100 millilitres of blood.
At the sentencing hearing, the judge took into account several mitigating factors. The accused was a young mother and, apart from an impaired driving conviction, she had no criminal record. Her family was supportive and, while on bail, she had attended alcohol abuse counselling and upgraded her education. The accused was provoked by the victim’s insulting behaviour and remarks. At the time of the offence, the accused had a hyperthyroid condition which caused her to overreact to emotional situations. She showed some signs of remorse and entered a plea of guilty. The sentencing judge also identified several aggravating circumstances. The accused stabbed the deceased twice, the second time after he had fled in an attempt to escape. From the remarks she made before and after the stabbing it was clear that the accused intended to harm the victim. Further, she was not afraid of the victim; she was the aggressor. The judge considered that the principles of denunciation and general deterrence must play a role in the present circumstances even though specific deterrence was not required. He also indicated that the sentence should take into account the need to rehabilitate the accused. The judge decided that a suspended sentence or a conditional sentence of imprisonment was not appropriate in this case. He noted that there were no special circumstances arising from the aboriginal status of the accused and the victim that he should take into consideration. Both were living in an urban area off‑reserve and not “within the aboriginal community as such”. The sentencing judge concluded that the offence was a very serious one, for which the appropriate sentence was three years’ imprisonment. The majority of the Court of Appeal dismissed the accused’s appeal of her sentence.
- Lets now assign everyone a particular way to look at the case.
SIX HAT THINKING
You will be assigned a particular HAT or a particular way of looking at things that will reveal your identity.
WHITE HAT
You like to look for hard facts, figures and data. You maintain a cool and neutral outlook on the topic or material.
YELLOW HAT
You look for all the positive aspects. You reflect optimism, try to remain enthusiastic, and find the constructive ideas and possible benefits related to the topic/material.
PURPLE HAT
You focus on the negative aspects. You look for flaws, faults, and reasons why something won’t work.
RED HAT
You deal with hunches, intuitions, emotions, and feelings you have about the topic.
GREN HAT
You use the topic or material as a springboard for creative adaptations, options, and alternatives. You look for opportunities “outside the box” or beyond the obvious.
BLUE HAT
You draw conclusions from the material. You provide definitions of concepts and summaries of the major ideas.
- Reread the case with your HAT/IDENTITY on.
ACTIVITY #3 SIX HAT THINKING
- Write an opinion piece on the case using that HAT/IDENTITY
ORAL
Read out loud
UNIT 1
IDENTITY THROUGH PRINT
Duration 4-periods
(Period 3 -4)
Communicating is fundamental to any people. It can be argued that Native Culture and identity was effectively dismantled after contact. The first sign of life still being in the nearly dead tree were the shoots of Native Literature. In this part we’ll look at some Native writers and discuss the identities that these writers create through their writing. Let’s look at the following writers.
ACTIVITY# 4 revealing identity
Chief Dan George
- Fill in the following matrix
Indicator words | Identity revealed |
Rita Joe
Indicator words | Identity revealed |
JOURNAL ENTRY #3
- Write two paragraphs explaining the type of IDENTITY Rita Joe and Chief Dan George reveal through their words. What type of personality/voice are they trying to portray?
UNIT 1
IDENTITY THROUGH PRINT
Duration 4-periods
(Period 4)
ACTIVITY # 5 PERSUASIVE ESSAY
READ
(IMAGRY)
Scenario: Imagine that you are living in a big, spacious house with not only your immediate family, but your entire extended family. You all have enough room and everyone is happy. One morning you open up the front door and you find on your door step a letter. It is formal, impersonal and it is telling you that your house has been appropriated by the town you live in. This is not an offer to buy your house. They are simply telling you that on a certain day you have to leave your house and never return. If you have not left the house by that time, the police will arrive and remove you. You inquire why you have lost the house, and you find out it is simply because a powerful family simply wants it. The police arrive and give you the ultimatum, move or we will force you to move. However, you have an opportunity to stop the madness.
In a persuasive essay write an appeal as to why they should not take your house.
(Remember: List items why you shouldn’t lose the house. Pick the best three. These items will be the heart of you appeal.)
Follow the basic essay structure:
Paragraph 1
Begin by listing 3 solid reasons why you should not lose you house. (remember begin with a hook, to get the reader’s attention. A hook could be a narrative which puts the reader in the writer’s shoes .
Paragraph 2
Elaborate on reason 1 provide detail and an example. Support you idea on comments why you should not be kicked out.
Paragraph 3
Elaborate on reason 2 provide detail and an example. Support you idea on comments why you should not be kicked out.
Paragraph 4
Elaborate on reason 3 provide detail and an example. Support you idea on comments why you should not be kicked out.
Paragraph 5
Restate why you should not be kicked out by repeating the 3 reasons. Then finish by making a personal comment on what would happen. If this happened to everyone.
UNIT 1
IDENTITY
IDENTITY THROUGH MUSIC
Duration 2-periods
(Period 1-2)
GOAL: To determined what type of Aboriginal Identities are being promoted through music
ACTIVITY # 6 Musicians & Issues
Listen and list the character traits/IDENTITY that music can often evoke.
Robbie Robertson
Indicator words | Character traits/issues evoked |
Buffy Sainte-Marie
Indicator words | Character traits/issues evoked |
Crystal Shawanda
Indicator words | Character traits/issues evoked |
JOURNAL ENTRY #4 Which musician do you thing does the best job in portraying identity and why?
ACTIVITY # 7 lyric composition
- Write and share your own lyrics. Explain the Identity/message you are trying to get across.
UNIT 1
IDENTITY
ABORIGINAL IDENTITIES IN MEDIA
Duration 3-periods
(Period 1)
GOAL: To help the student become aware that stereo-types depend on who is producing the art/news/ stories.
Until the creation of channel APTN there was little if any promotion of native identity by native people. How Aboriginal people were seen in the media were how Hollywood
One way of dealing with the stereo types is through humour: Native comedians poking fun at who they are and a comparison between aboriginal culture and the greater culture in which they live.
Don Burnstick does this.
JOURNAL ENTRY # 5
Did you find this type of humour acceptable? Why or Why not? Do you think it is important that a people learn to laugh about themselves?
One actor who speaks out on the roles he has been asked to play and breaking down the stereotypes is Adam Beach.
JOURNAL ENTRY #6
Do you think that Adam Beach is doing a good job breaking down stereotypes? Why or Why not? Do you think Native people should refuse to take a role if it is depicting a Native person?
Today there is a renaissance in portraying Native people as environmentally conscious, peaceful minding people. Is this a stereotype. Some of the wars fought between Native people and various Governments were quite ruthless. Does Hollywood
Let’s take a look at two views.
JOURNAL ENTRY #6
History is often subject to the time in which we live, but is it wrong to misinterpret history?
Some stereo-types are based on simple observations they do not go deep enough to discover the cause. Often images of drunken Natives cause a judgment to happen, that somehow all Natives are prone to drunkenness. Dig deeper and we discover the poverty, and the unemployment and the despair that often is prevalent in many reserves.
Often when people see someone who is overweight an assumption that the person eats too much is close to the surface. In reality, especially with native people, there are other issues at work.
JOURNAL ENTRY #7
Is there any advantage to making quick assumptions about people on how they look? How far can understanding issues go to solving the differences between people?
UNIT 1
IDENTITY
ABORIGINAL IDENTITIES IN MEDIA
Duration 3-periods
(Period 2-3)
ACTIVITY # 8 Oka & right angle
Misunderstanding can create a lot of hardships and difficulties, even violence. While watching the documentary OKA , focus on the points that caused the violence. Use a right angle organizer to write down some points about the crises along the horizontal plane, and then after watching right how you felt about the documentary (in point form) along the vertical plane.
POINTS
FEELINGS
ACTIVITY # 9 Short Proposal
Describe in complete sentences what happened at Kanehsatake. Write a short proposal how you think the conflict at Kanehsatake should have been handle. What were some of the things both sides could have done to have resolved the situation before it boiled over?
UNIT 1
IDENTITY
ABORIGINAL IDENTITIES IN ORAL TRADITIONS
Duration 2-periods
(Period 1)
Because much of Aboriginal culture was not written. Histories and legends were passed on in a rich, oral telling culture. These stories were based in a tradition of entertaining story tellers. Stories were often told around the fire to pass on culture but also to teach and entertain. One central character that developed was called the “Trickster.” This personage emerges in many aboriginal myths and legends as part human, part god.
Try to identify the THEME in each story
Here are a couple stories.
THEME:
THEME:
ACTIVITY # 10 Venn “Trickster.”
Read a two “Trickster stories, analyse the different parts of the story, and compare them.
VENN diagram
CHARACTERS
PLOT/WHAT HAPPENS
CONFLICT
MORAL
JOURNAL ENTRY #8: What is the most entertaining part of the trickster stories that you read? Why would that be considered entertaining?
UNIT 1
IDENTITY
ABORIGINAL IDENTITIES IN ORAL TRADITIONS
Duration 2-periods
(Period 2)
ACTICITY # 11 write “Trickster story” 250-400 words.
Write your own contemporary “Trickster story.”
(The following steps have to done and handed in.)
- Create writers wheel
- Number the order of events
- Rough draft
- PEER EDIT signed
- Rewrite
- READ
(Either you can read it or someone else, but it must be read.)
UNIT 1
IDENTITY
ABORIGINAL IDENTITIES IN DRAMA
Duration 3-periods
(Period 1-3)
GOAL: To appreciate the beginnings of Native Literature, which oddly enough were spurred on by Non-Natives writing about the Native condition.
See Chief Dan George quote on George Ryga’s “The Ecstasy of Rita Joe.”
LAMENT FOR HARMONICA
READING SHORT PLAY IN CLASS
TAKING ANALYTICAL NOTES
Focus on Characterizations and the world that each character represents.
(Teacher should have notes. Write on. )
REVIEW EACH DAY before starting reading.
ACTIVITY # 12: NOTES on play
JOURNAL ENTRY #9 Why was Harmonica unable to succeed? Hove you ever felt like her, caught in-between two worlds?
UNIT 1
IDENTITY
RESEARCH
Duration 2-periods
(Period 1-2)
GOAL: To see if the treatment of Pocahontas in the media, especially Disney, is true to the historical facts about the individual.
ACTIVITY #12 Pocahontas fact or historical/NOTES
Step 1: Establish your research question.
IS the treatment of Pocahontas in the media, especially Disney, is true to the historical facts about the individual?
Step 2: Start your secondary research
You Tube is an effective way of finding out clips on the Disney treatment of Pocahontas.
Step 3: Read the Wikipeida material on Pocahontas
Fill in the matrix AS you go along. It is a lot easier than think about what to write afterwards, but you must have NOTES because you will be handing it in.
Disney Version | Real Version Wiki |
Plot Character Traits | Story Character Traits |
Step 4: Together, as a class, we will then compare the two.
JOURNAL ENTRY #10 Do you think it’s all right for people to change history? What would you say if someone wanted to make a movie of your life, would you want them to stick to the facts or to make a Disney film of it? Why?
ACTIVITY # 13 (Pocahontas Long Answer) Was the Disney treatment of the life of Pochahontas the stuff of romance or reality? Support your focus with examples from the notes you took from above.
(250-400 words)
UNIT 1
IDENTITY
IMAGE & SYMBOL
Duration 3-periods
(Period 1 -2)
GOAL: To become aware of how Aboriginal Cultures use Images and Symbols to portray thoughts, stories and emotions.
A.)
READ the following and decide which animal Totem you belong to.
Animal Totem's are an important symbolic object used by a person to get in touch with specific qualities found within an animal which the person needs, connects with, or feels a deep affinity toward. You can have several animal guides through out your life. Sometimes an animal guide will come into your life for a short period of time, and then be replaced by another depending on the journey or direction you are headed toward. Your guide will instruct and protect you as you learn how to navigate through your spiritual and physical life. When you find an animal that speaks strongly to you or feel you must draw more deeply into your life, you might fill your environment with images of the animal to let the animal know it's welcome in your space. Animal guides can help you get back to your Earthly roots, and reconnect with nature by reminding you that we are all interconnected. To first do this you need to know what your Animal Totem is.
If You Don't Know
If you don't know what your Animal Totem is there are several questions you can ask yourself. All of the questions below are designed to get you thinking about a prominent animal in your life. There are no right or wrong answers. Only you can truly know which Animal Totem(s) are right for your journey.- Since we are drawn to that which resonates with us, what animal, bird, or insect are you drawn to?
- When you go to the park, forest, or zoo what animal are you most interested in seeing?
- What animal do you most frequently see when you're out in nature or in the city?
- What animals are you currently interested in learning about?
- Which animal do you find most frightening or intriguing?
- Have you ever been bitten or attacked by an animal?
- Is there a recurring animal in your dreams or do you have one you have never forgotten?
Still Uncertain?
If you are still uncertain which animal is your totem, here a few exercises you can do to come closer to the answer. You must not try to force the animal to come, it can pick up on that energy and be put off. Being patient and doing the following exercises will draw your animal totem to you.- Ask yourself what animal has played a meaningful part in your world? If you're unsure, make a list of animals that have drawn your interest or have left a deep impression on you from paintings, photographs, stories, movies, carvings, etc.
- Which animal shows up in your life most frequently? Keep a journal of the animals present in your dreams or that you encounter through the day for the next month. How did the animal behave? Did you interact with the animal?
- Find a place where you can be alone to meditate. Sit quietly and ask your animal to make it's nature known to you. Feel free to use tools such as incense, smudge, and candles to help you.
- Don't give up, sometimes your animal totem is nearby watching to see if you're serious about connecting with it. Keep doing the above exercises until your animal totem makes itself known to you.
JOURNAL ENTRY #11 Are you happy with the animal totem you’ve discovered for yourself?
ACTIVITY # 14: Paint your Totem on a little rock .
B.) Native Horoscope
JOURNAL ENTRY #12 Write out you Native horoscope and animal. Did it match up with you own selection? How did it differ? Is it accurate?
NOTES
DEFINE SYMBOLISM: _________________________________________________
________________________________________________________________________ .
In traditional Native ideology Symbols were always taken from the world in which people lived. Often they came from animals, which they also attached stories to.
ACTIVVITY # 15 story retell: Pick one of the above animals, read the story several times and retell the story orally, without looking at the text to the class.
Definition get class to come up with the definition then
NOTES
DEFIINE CONCRETE: ______________________________________________
___________________________________________________________________.
C.) Poetry is one of the most powerful ways we can use to relate ideas, emotions and feelings to each other. Listen to the following poems, and identify the event.
ACTIVITY #16: POEM
Identify a monumental event in your life. How did you feel about this event? What happened? What choices did you have to make? Now, write a poem about that event making sure you have a CATCHY beginning and end. You have to get peoples attention.
UNIT 1
IDENTITY
ACTING OUT
Duration 5-periods
(Period 1 -3)
Each day will have the following format:
Taking turns reading THE REZ sisters
At the end write (on board with assistance from students) a summary of events, motivation of characters.
JOURNAL ENTRY # 12 – 15 (Make these up at the end of the first 3 days. The play should be finished on the third day
(Period 4)
ACTIVITY # 17
10 Questions REZ sisters
Everyone creates 10 questions to test each others knowledge on the play.
The person created the test must also create the answers
Place the tests on the table, mix them up and have the students select the tests.
They do them
Find the tests creature
How Marks them
Marks recorded
(Period 5)
ACTIVITY #18 Essay on Rez Sisters
Design a frame work for your essay
- Come up with a QUESTION in regards to the play.
- ANSWER this question.
- Have THREE points or different things you are going to look at.
- Write a sentence for each of these three points.
- Rewrite the first part or your ANSWER so that it looks different, even though it is saying the same.
UNIT 2
RELATIONSHIPS
STRUCTURING RELATIONSHIPS
Duration 3-periods
(Period 1 -3)
Goal: Through the reading of a variety of Short Stories, poems and oral stories, develop an awareness of the unique relationships between Native peoples in a family, local and world context.
ACTIVITY 19: Notes elements on short story
Day 1
- Learn the elements of a short story.
NOTES
ACTIVITY 20: analysis of short story
Day 2
Read and analysis a short story. Using the matrix below list details about the Short Story.
(Select story from anthology) In the details make sure to focus on relationships between family, animals and the spirit world.
Setting | |
Conflict | |
Point of view | |
Plot | |
Character | |
Theme |
Day 3
ACTIVITY 21: designing short story
- Now design your own short story using the matrix. Fill it out in detail.
Depending on time (start story)
Setting | |
Conflict | |
Point of view | |
Plot | |
Character | |
Theme |
UNIT 2
RELATIONSHIPS
UNDERSTANDING RELATIONSHIPS
Duration 5-periods
(Period )
Goal: To learn how Aboriginal writers use relationships to promote visions of aboriginal communities.
Day 1:
Views of communities past
Historically, in this country the first stories of native people were told by non-natives. Some of these include George Ryga in his historic play, “The Ecstasy of Rita Joe,” and “Indian.”
Between 1962 and 1970, natives in two northwest Ontario Grassy Narrows
Let’s have a look at the television clip “The water’s no good,” “Fishing for fun and death,” “community in crisis.”
JOURNAL QUESTIONS 16-22
1.) Watch and be able to answer the following question: How are the native people being portrayed?
2.) Telling your own story means exactly that: You telling your own story, not having someone else tell your story. Which statement comes closest to telling their story?
3.) What are some of the problems when other people tell your story?
4.) Are the Native people portrayed in this story aggressive, passive? What image does that give the world?
5.) What is one of the problems with passivity? What message does that give future generations?
6.) Would there have been a story if there had been no mercury poisoning . When the reporter idealizes how native people lived before the poisoning, “Natural Indian law.” Is that right?
7.) When governments try to do what is right, do they understand and do what’s in the best interest?
Day 2 - 3
Views of Communities in the present
ACTIVITY 22: Changing identity *
Write three sentences outlining who you are. Fold the paper slide it into the centre of the table. Select a paper a paper, make sure it is not your own. Rewrite those three sentences (you are not allowed to use the same words. Put them back into the centre of the table. Reach in and read them.
Today we have more Native people telling their own stories.
1.) How does the one differ from the other, in content, in tone, in attitude. In the first we get the impression of vultures circling a story of tragedy. No tragedy, no story. In the second there is a more positive interpretation on items. Interactive, not just one organization telling one story.
ACTIVITY 23: Own Story
Tell your own story: media is up to you. Write, picture, poetry, video
Day 4-5
Daniel David Moses
Dead Dog Café
JOURNAL QUESTION #23
Activity answering the question: How does Aboriginal Society interact with Canadian Society?
UNIT 2
RELATIONSHIPS
EXPRESSING RELATIONSHIPS
Duration 6-periods
(Period 1 )
Goal : To be able to express relations in an oral, traditional format.
- What do we do in the course of our day? What causes us to do those things? (Talk about the influences in our daily life. We are often influenced by those we are responsible for. If those commitments weren’t there, would we change the course of our day? Would we find other commitments that would influence us? It part of the package that these influences cause us a certain amount of stress. Some stress is good. It gets us to do things. In a world devoid of stress no one would do anything…but then that creates stress to.
ACTIVITY # 24 NOTES
Writers are no different than anyone else, however to communicate these influences they have chosen the format of stories.
What is VOICE:
DEFINITION:
A Person’s background makes up who they are. How they communicate their experience is their Voice. There are no two people who are identical in speech patterns. There are no two people identical in writing.
Answer the following questions and Identify your own VOICE.
1.) What do you like to think about?
2.) Is there anything you like to do?
3.) If you were to watch television, what type of shows would you watch? Horror, mystery murder, comedy, romance, adventure, reality television.
4.) Have you ever thought about why you watch those shows?
This leads us to the next point, which is the development of PURPOSE. Every writer has a purpose. Here is a list of possible purposes that might embroil writers:
-They simply want to entertain
-They have something important they want to say, something they think other people should hear
-They want to understand life, and by reflecting little pieces of life they come to a better understanding or amazement at this thing called life.
Now, let’s look at AUDIENCE, because without an audience, nothing gets shared. There is a philosophical question that epitomizes this: “If a tree falls in the forest and there is no one around to hear it fall, does it make a noise?” Same thing with a book. If no one opens the book, does it matter what is written there? The sharing between the writer and the audience is what makes a story come alive. No sharing, no story.
Still, who specifically would be your audience? Toddlers, children, adolescence, young adults, adults, mid-agers, old-agers – all of the above?
Remember WHO you are writing for will alter HOW you write.
ACTIVITY # 24 Two Accounts
Try the following EXERSIZE:
The following are the factual events of a fictional story.
A man meets a woman down at marina park. It is night. You can’ t make out there features. They are talking about something. Whatever they are talking about is upsetting them. The woman pulls away from the man and turns her back on him. Slowly she turns around. They hug, hold hands and walk away.
- Write two accounts of this: ONE for CHILDREN and ANOTHER for your own age group.
Share and discuss.
JOURNAL ENTRY # 24 Which version of the story do you think was more emotionally charged? Why do you think that was?
(Period 2-3 )
ACTIVITY #25 Teaching Stories
What is a teaching story? What are the elements of a teaching story?
Read a number of the following stories and determine, with the class a pattern that emerges in the Teaching stories.
Record this criteria
Criteria | Examples from story |
Write your own Teaching Story containing the above criteria.
Fill in your criteria sheet first and then write, edit and read.
Criteria |
Day 4
Teaching Stories. Read from Keepers of the Earth. and an activity at the end for the students.
ACTIVITY 26: Pick a story, study it and present the activity.
Day 5-6
ACTIVITY 27 Guest Story Teller
Invite Native Story Teller in to class.
JOURNAL ENTRY #25
What were your impressions of the story teller? How did they tell their story?
UNIT 2
RELATIONSHIPS
SEEING RELATIONSHIPS
Duration 6-periods
(Period 1 )
ACTIVITY #28 Pass it around
A message is started and passed on to the person next to them. The next person is allowed to change one thing.
Write down original statement
Write down final statement
Whenever there is some communication of any type it is important to identify “what” is being said and “who” it’s being said to. Mistakes happen when things aren’t clear and “what” is being said gets misunderstood, and things get even more confusing when someone is listening in and gets the wrong idea because it’s not being said to them. It can get confusing very quickly can’t it.
NOTES
We’ll be looking at messages given by native artists in three areas: Verbal messages through the medium of music, messages through the medium of visual art and messages through the Media, which can include movies, documentaries. In all three cases we’ll be looking at “What” is being said and to “whom” it is being said to.
Music (compare and analyse)
ACTIVITY #29 comparison of 2 native music artists
Create a Venn diagram of two native singers
Comparison of Native Music Artists In the left circle write, in point form, what the first singer is saying (what is he/she talking about? In the right circle do the same for the second artist.
Where the two sets overlap, write the similarities. For example if both artists write about love, then say that.
Where the two sets overlap, write the similarities. For example if both artists write about love, then say that.
Musicians
Robbie Robertson/Making a Noise in This World/Rattle bones
Background for wounded Knee
Buffy Sainte-Marie / Burry my heart at wounded Knee
JOURNALY ENTRY # 26: In a paragraph form express who you think the artist is speaking to? Why is this important?
(Period 2)
Visual Art (compare and analyse)
Using the Principles and elements of design compare two native artists. After the comparisons decide what message the artist is saying with their art.
NOTES
Elements and principles of design
Visual Artists
Norval Morriseau
Background
Pictures
Arthur Shilling
ACTIVITY #30 Artist comparison
Although both artists chose two very different paths. Can you identify the message that both are trying to relate. In two solid paragraphs 250-400 words, relate the message you think each artist is trying to relate, how they do it (elements and principles of design) and to whom they are intending to speak.
MOVIE REVIEW
(Period 3-4)
Media (compare and analyse)
View a Movie.
Media Artists
Native Films
Aboriginal directors are poised to become a force in Canadian film, Wente predicts. “There’s both opportunity, due to separate funding for aboriginal artists, as well as an upcoming generation of kids with a real interest in film.” Métis director Gail Maurice had her short film Smudge premiere at Sundance earlier this year; “I’d love to see what she could do in a feature,” Wente says. And the Toronto International Film Festival has just announced that acclaimed Inuit director Zacharias Kunuk (Atanarjuat The Fast Runner) will open the festival this year with his eagerly awaited second feature The Journals of Knud Rasmussen, an epic story about one of the last great Inuit shamans.
Aboriginal directors are poised to become a force in Canadian film, Wente predicts. “There’s both opportunity, due to separate funding for aboriginal artists, as well as an upcoming generation of kids with a real interest in film.” Métis director Gail Maurice had her short film Smudge premiere at Sundance earlier this year; “I’d love to see what she could do in a feature,” Wente says. And the Toronto International Film Festival has just announced that acclaimed Inuit director Zacharias Kunuk (Atanarjuat The Fast Runner) will open the festival this year with his eagerly awaited second feature The Journals of Knud Rasmussen, an epic story about one of the last great Inuit shamans.
(Order)
VIEW MOVIE USING THE FOLLOWING MATERIAL
Film Characteristics for Reviews
Reviewing a movie has very different objectives than critiquing. A critique names specific things that make a movie work, or not work, so that the creator can improve. A review gives clues as to whether or not others will find the movie worth seeing.Important film characteristics
Story Synopsis: ________________(Six lines)
- What is the story genre? (Circle up to two dominant genres and multiple dominant sub-genres) Action Adventure Classic Children's Comedy Documentary Drama Experimental Fantasy Farce Horror Religious Romance Sci-Fi Sexual (explicit acts) Thriller Travel True Story
Sub-genres:
Animation Archaeology Animals Art Crime Cult Demons Detective Education Erotic Espionage Fire Game character Gay Ghost Historical fiction Disaster Futuristic Inspirational International Legal Martial Arts Medical Men's Military Monster Multicultural Music Mystery Pets Police Politics Psychological Relationships Science Sex Slapstick Social Issues Space Sports Superhero Supernatural Teen Time Travel Transportation Vampire War Werewolf Witches Women's Western Martial Arts Other_____________
Scale 1 = weak; 10 = strong
- Did the movie engage your interest? 1 2 3 4 5 6 7 8 9 10
- Was the movie boring? 1 2 3 4 5 6 7 8 9 10
Where _________________________________________
- Was the story confusing? 1 2 3 4 5 6 7 8 9 10
Where _________________________________________
- Did you enjoy the characters? 1 2 3 4 5 6 7 8 9 10
- Did you enjoy the plot? 1 2 3 4 5 6 7 8 9 10
- Were there surprises? __Yes __No
- Did you feel entertained? 1 2 3 4 5 6 7 8 9 10
- Was the story unique and original? 1 2 3 4 5 6 7 8 9 10
- Would you recommend this movie to others? __Yes __No
- Is this movie in the top __5% __10% __20% of independent movies?
- What were your feelings when you left the theater? See the adjective list and circle as many as you wish.
ASSIGNMENT #31 Movie Review
Write a movie review 250-500 WDS.
This is a Notice
Keep track of your work, because you will be selecting enough material to create, for the 5th Unit a book of your own writings. This book will include a cover page, printed to format and be perfectly bound.
CULMINATING ACTIVITY: everyone must produce their own book of writings.
They must design a book cover.
ACTIVITY #32 Book Cover Pro
Introduction of Book Cover Pro ( which can be used throughout the semester so that there isn’t a log jam.
(Period 5-6)
Book Cover Pro
UNIT 2
RELATIONSHIPS
CREATING RELATIONSHIPS
Duration 5-periods
Day 1
Elements of Short Fiction
The short story as we recognize it today is a relatively recent phenomenon. It arose in the mid 19th century in the work of authors like Poe, Balzac, Irving, Hawthorne, and others.Before considering short fiction, let's discuss what we mean by fiction itself. The primary distinguishing characteristic of fiction, as opposed to poetry and drama, is its relative ordinariness. The genre we have come to know as fiction -- fables, tales, parables, short stories, novellas, and novels
Despite its relative ordinariness, writers can achieve highly stylized effects with prose: feats of verbal pyrotechnics, individuated sentence patterns, and unique tonalities. Just because we call prose ordinary doesn't mean it doesn't have variety and depth. It is just to say that of all the genres of literature, fiction comes the closest to the way we commonly speak and write.
Another distinguishing characteristic of fiction in addition to its prose form has to do with how we as readers interact with it. Compared to drama and poetry, reading fiction tends to be a more solitary and silent activity. It is a gateway to the interior life. Generally speaking, modern fiction isn't read aloud (although folk tales, fables, fairy tales, and myths have their sources in the oral tradition). Our image of the modern reader of fiction is one consisting of a person sitting in their favorite armchair on a quiet afternoon or evening reading silently by the lamplight. In this sense, fiction is the most interior of literary genres.
ACTIVITY #32
Sentence Patterns pg. 95 “Writing.”
Day 2
ACTIVITY #33
Begin with Essences pg. 115 “Writing.” Metaphors
ACTIVITY #34
Terrific Topic Sentences pg. 101 “Writing.”
ACTIVITY #35
The Orange pg.34 “Writing.
Day 3
ACTIVITY #36
Characters pg 24. “Writing.”
ACTIVITY #37
Portrait pg. 25
Day 3- 5
ACTIVITY #38: short story
Plan an outline “Writer’s wheel,” For a story, then write it.
Get in close.!
READ example from “Other times, Other places.”
Make sure you have to have some point/teaching/morality to it.
Your submission should have: Writer’s Wheel, Rough Copy, EDITED copy signed by editor, Final (error free) submission.
UNIT 3
SOVEREIGNTY
RECLAIMING HERITAGE
Duration 4-periods
Goal: To understand the definition of sovereignty as presented in Drew Hayden Taylor’s “The Boy in the Treehouse.”
Introduction of Unit 3
· In this unit, we will examine the evolving nature of the concept of sovereignty. By the end of this unit we should be able to demonstrate an understanding of the traditional view of Aboriginal communities, which reflects the relationships among the Creator, the Land, and the People. We will assess contemporary interpretations of sovereignty, which include such issues as personal identity, the challenges of Aboriginal empowerment, and the evolving relationship with Canadian society, through learning activities that develop critical-thinking skills. We will assess the ways in which various literary, informational, and media texts reflect the evolving concept of sovereignty. Knowledge of language conventions and personal voice are key elements in understanding the various expressions of sovereignty and in articulating their own views – personal, spiritual, collective, and political.
Read scene one of The Boy in the Treehouse, which consists of stage directions explicating the set design and a physical introduction of SIMON, the main character. There is only one line of dialogue before lights go down to end the scene.
· Written stage directions are available to a reader, but not to the audience of a live performance. Ask them to imagine the first impression of Simon, created only visually and through one line.
· Read scene two aloud (or use student volunteers).
Discussion: What concrete (factual) information do we discover about Simon in the second scene?
What impression do you have of his father?
Is their relationship positive or negative?
What tensions or issues seem to be present? How is the role of the vision quest presented in the scene?
JOURNAL ENTRY #18: Record your initial impressions of FATHER and of the relationship between Simon and his father.
· A brief, oral quiz on the content of the first three scenes to review the previous day’s work.
Discuss the introduction of the character PATTY and debate the realism of the interaction between Patty and Simon.
· Read scene four aloud.
DISCUSSION: What is the purpose of the Father-NEIGHBOUR conversation?
What information about Simon and his past is revealed?
To what extent is the offer of food a positive gesture?
To what extent might the offer be considered negative?
· Read scene five (halfway).
ASSIGNMENT: Write a one-page journal response on the topic of Simon’s character. Frame it in a discussion of sovereignty as self-awareness (self-concept, personal awareness).
Is Simon deficient in self-awareness? (your point of view supported by an example from the play.)
What is Simon looking for? ? (your point of view supported by an example from the play.)
Does Simon seem childish or immature? ? (your point of view supported by an example from the play.)
Is the play taking Simon seriously or not? ? (your point of view supported by an example from the play.)
· REVIEW PLAY
DISCUSSION on questions posed as journal ideas.
Consider the ever-widening circle of observers: Simon at the centre, then his Father, Patty, a Neighbour, and now, the Police.
JOURNAL ENTRY #19
What are the varying responses of these different audiences to Simon’s efforts to achieve personal sovereignty.
Father:
Patty:
Neighbour:
Police:
· Read scene six.
· Read scene seven.
JOURNAL ENTRY #20
How is the playwright changing or developing the impression of Patty’s character?
What questions are being raised about her?
What predictions might you have about her function?
· Read scene eight.
ASSIGNMENT
Analyses of the following lines from the scene, in point form, to be used for discussion purposes next day:
· “I don’t think my father has a culture.” (what is he saying about his father and culture? What is culture? What is its importance?)
· “What will it take to bring you back down to earth?” (This is a comparison of reality to Simon’s fancy. Who is dreaming here? Because we live in a world of harsh realities does that mean it’s preferable?
· “This has nothing to do with being Native.” (What is being Native? If it doesn’t have anything to do with being Native then what does it have to do with?)
· “If half of this tree was taken away, do you think it would be able to stand?” (perhaps an application to Simon being both White and Native. You really can’t have one without the other. Does this mean both have to work together? Does it mean that when a claim on being Native is more than blood or skin colour? Is being Native an attitude?
DISCUSSION: of the answers to the above questions.
· Before reading the final scene, be prepared to enter the PERSPECTIVES OF THE REPORTER with that of UNCLE CLYDE.
ASSIGNMENT
THE REPORTER (how they see the situation) | UNCLE CLYDE (How he sees the situation) |
· Read the final scene.
What is the symbolic significance of Clyde’s role and the effect of the playwright’s juxtaposition of the REPORTER and Clyde ?
JOURNAL ENTRY #21
Respond to the following questions:
In the final scene, which of the characters brings the most important or helpful message to Simon in his search to reclaim his cultural identity?
What is that message?
UNIT 3
SOVEREIGNTY
DISCOVERING A VOICE
Duration 8-periods
What was the Moral message we received in reading The Boy in the Treehouse? Was it positive? Did it portray the family in a positive way?
Were going to read another play by the same playwright : Girl Who Loved Her Horses.
ASSIGNMENT
Introductory writing activity
Compose a personal letter or an e-mail posting to a parent, grandparent, or community elder, reflecting upon or acknowledging the importance of traditions and heritage.
Please retain the letters for the PORTFOLIO being created throughout the activity.
· Read scene one.
As with The Boy in the Treehouse, the opening scene consists of thorough stage directions, a description of the set design, and a visual introduction of a main character who speaks only one line (i.e., “Ho-lee!”).
JOURNAL ENTRY #22 (dramatic effectiveness of the opening scene)
Does the opening capture the audience’s interest?
What information is communicated?
What questions are raised?
REVIEW the opening scene.
· Read scene two:
ASSIGNMENT
Create five questions about scene two:
2 questions about content,
2 questions about character,
1 question about either structure (chronology, imagery), or theme.
Exchange questions with a partner, and answer their partner’s questions.
Hand in your work. They will be used as a review at the beginning of the next session.
Considering the questions and answers, we will fill in the following to give us a better perspective of the scene.
PLOT
CHARACTER
STRUCTURE
THEME
· Read scenes three and four.
DISCUSS
Time in this play does not happen in a strict chronological order. How do you feel about this? Does it make it hard to follow? Or does it fill in some of the blanks that exist in the story?
How do you feel about the images of a much younger RALPH and WILLIAM?
The introduction of a young DANIELLE?
And the now recurrent image of the HORSE?
ASSIGNMENT
List (in point form) all the specific information revealed through the non-verbal scene four.
Write a prose synopsis of the play up to and including scene four.
Limit yourself exclusively to the content you are very confident about.
· Parts for oral reading of scene five. Try to evoke the dynamics of Ralph, William, and SHELLEY, compared to the almost invisible presence of Danielle.
JOURNAL ENTRY #23
If you had the chance to draw on the Everything Wall, what would you draw?
And remember, somebody’s mother is going to be judging your contribution!!
Draw it (Port folio)
· Review scene five briefly.
· Read scenes six and seven.
ASSIGNMENT
In pairs describe the dynamic of the encounter between William and Danielle.
Create a theory to explain the tension in the William/Danielle relationship, based only upon direct evidence or clues from the text of the play.
List the clues and be ready to explain your theory to the class.
DISCUSSION of theories.
Suggestion: “Sometimes we recognize the need for something, like sovereignty, only when we lack it.
DISCUSS the many potential barriers to Danielle’s self-esteem and sense of self.
· Read scene eight
· Write quiz about scene eight.
The questions should be a mix of content, interpretive, and speculative/imaginative answer.
REVIEW the scene after students have completed the quiz and submitted their answers. (Emphasize the importance of the image of Danielle’s home environment as an obstacle to her personal sovereignty, and of the image of the horse as an expression of her fierce inner spirit struggling to escape.)
JOURNAL ENTRY #24
Write a reflective journal entry following the model of Danielle’s memory of the pony ride at the fair .
Can you imagine or describe a childhood experience which has stayed with you, and which carries within it a lesson about life?
· Read scenes nine and ten.
JOURNAL ENTRY #25
Answer the following questions: How does the dilemma Danielle is in relate to the issue of sovereignty?
How have her relationships with Ralph, William, and Shelley changed over time?
Before reading the final scene, consider the entire play to this point and make a prediction about how the play might resolve the issue of the obstacles to Danielle’s desire for sovereignty and full personhood.
· Read the final scene.
ASSIGNMENT
Compose a personal letter, which addresses the most significant obstacles to achieving your own potential for complete sovereignty.
These obstacles may be specific individuals, institutions, cultural attitudes, or even personal characteristics or aspects of students’ own personalities. The letter is included in you work POrTFOLIO
ASSIGNMENT
Construct a second DRAWING. This drawing will convey either your most vivid impression of Girl Who Loved Her Horses
Or their strongest application of the play’s ideas to their own experience.
This “Everything Wall” drawing must be accompanied by a one-paragraph explanation of its content, motivation, and significance.
This is the final element included in your PORTFOLIO.
UNIT 3
SOVEREIGNTY
EMPOWERING THROUGH WRITING
Duration 3-periods
1. Concept analysis:
Define: empowerment
Have students fill in the stem: Empowerment is….
Discussion
Share results with class. Come up with a definition of the term acceptable to the class.
Define: disempowerment
Have students fill in the stem: Disempowerment is…
Discussion
Share results with class. Come up with a definition of the term acceptable to the class.
In reference to the two plays we’ve studied how do the terms Empowerment and disempowerment fit in.
JOURNAL ENTRY # 26
How do the concepts of Empowerment and Disempowerment apply to your own life? Describe a situation that you’ve gone through. An example that defines each concept.
2. Discuss
NOTES
Language is designed to do two things, convey information as close to reality as possible, or to twist information to suit the person who is passing that information on. The idea of language has two faces, as either neutral or value-laden.
and meanings as either denotative or connotative.
Brainstorm pairs of words which reflect this difference (e.g., thin vs. scrawny, self-confident vs. arrogant, or conceited, different vs. unique or weird).
3. Discuss
the possible impacts that connotative values can have on making a person feel helpless ( disempowerment.)
4. READ and TALK about ideas, issues, and examples drawn from Jeannette C. Armstrong’s essay “The Disempowerment of First North American Native Peoples and Empowerment Through Their Writing”.
5. ACTIVE DISCUSSION
We will take one selection from the essay, Neuter it, and examine how it reads. (e.g., paragraph 5 becomes
Reduced selected portion: Neutral
“ In North America , this process was to introduce the indigenous peoples to European customs. In the 498 years of contact in The Americas, this has resulted in a significant loss of life and cultural traditions, which continues today.”
Full portion: Value laden
“In North America this has been to systematically enforce manifest destiny or the so-called ‘White Man’s burden’ to civilize. In the 498 years of contact in The Americas, the thrust of this bloody sword has been to hack out the spirit of all the beautiful cultures encountered, leaving in its wake a death toll unrivalled in recorded history. This is what happened and what continues to happen.” Pg239
Considering the effects of Armstrong’s word choices, do the two versions have the same meaning, or is the message significantly changed through her writing?
6. Introduce Armstrong’s poem “Threads of Old Memory”
Read as a class.
Discuss
Reflecting upon the following topics in a journal entry:
JOURNAL ENTRY #27
Which lines does the poet use to describe the nature or spirit of her own language? Do you agree that a language can contain the personality of a culture?
7. Draw attention to the poet’s use of repetition, particularly through the phrase “When I speak” and the constructions “I am”, “I become”, “I choose”, “I sing”, “I search”.
ACTIVITY
8. Using the poem construct a poem of 10-12 lines, which uses Armstrong’s patterns as a very loose model.
Collect poems for assessment.
REVIEW
the concepts of denotation and connotation.
INTRODUCE
Armstrong’s poem “Indian Woman”
Words can be full of emotion, this is consider to have emotional values. These words can either be constructive/positive or negative/destructive.
This is the theme of the activity and the point of this poem. Ask students to listen to “Indian Woman” for a connection between language and empowerment.
READ
JOURANL ENTRY # 28
Reflect individually upon the poem.
Which words did you find that built a person, which words were destructive?
We are examining the large issue of sovereignty in this unit, in a variety of genres. You have studied plays, are reading poetry, and will read informational, non-fiction texts as well. There will be a particular focus on how language can be instrumental, either acting as a barrier or as a bridge to sovereignty. In other words, words can build or destroy a person.
ACTIVITY
Adapt the poem “Indian woman” into a dramatic scene written in scene play format. Your task is to imagine and compose a scenario in which Armstrong’s language is brought to life, and given a spoken, physical power. Make sure you use characterization, special effects, stage directions, conflicts, and imagery.
RUBRIC
Create a rubric with students for assessment. Criteria might include range and complexity of character development, use of multimedia or special effects, appropriate, distinctive or creative use of original text.
MARILY DUMONT
Her Métis heritage provides her with a unique vantage point for addressing the difficulties and possibilities of language as a barrier and a bridge to sovereignty, the stuff of both communication and confusion.
WRITE
CULTURAL PERSPECTIVE
“The language of the devil.”
Which traditions typically use the idea of “the devil?” What connotations does the word “devil” have?
DISCUSS
READ
Read the poem aloud to the class, identifying Eliot, the Great White Way pun, Dick and Jane, the King’s English, the idea of Received Pronunciation.
JOURANL ENTRY # 28
In your journals, record the words and phrases from Dumont ’s poem which seem to have particularly strong connotative values. Alternatively, record favourite lines, or most intriguing images and references.
DISCUSS
Stanza one
Clarify your impressions of Dumont ’s message in stanza one. Gather the images of English; elicit associations of repression, rigidity, imposition, limitation, and presumed authority.
Stanza two
Identify the key ideas. Try to incorporate empowerment and disempowerment into the discussion. Examine stanza two in terms of transitions, turning points, or ironic reversal or inversion. Stress the complexity of Dumont ’s use of the phrase “devil’s language”, which in this context is both the language by the oppressors and, ironically, about the oppressors’ own language. When the word is turned back upon those using it, the shift from disempowered to empowered occurs and the positive associations of the Aboriginal voice, (in this context, Cree language), exert themselves.
Stanza three
Consider how Dumont has managed to completely redefine the term of oppression - the devil’s language - into an image of a gentle, nurturing song.
JOURNAL ENTRY #29
Answer the following questions a) In stanza 1, how does Dumont use the language of English to present a negative impression of Native languages and Aboriginal writing? b) Explain the effect of Dumont ’s deliberate constructions talking back(wards), talking back, back(words). What is the effect of these subtly different phrases, in thematic terms? c) What is the effect of the memory of the mother’s sounds in stanzas 2 and 3? Is the final admission, that she “can’t make the sound”, an admission of defeat? Can you put the movement of the poem into your own words (through an engaged paraphrase)?
DISCUSS
UNIT 3
SOVEREIGNTY
CHALLENGING THE OBSTACLES
Duration 5-periods
DAY 1
REVIEW
The three previous poems which stressed the ideas of personal, communal, and spiritual sovereignty. Indicate that communicating through writing, speaking, and representing are all means of asserting various aspects of sovereignty.
State the Historical context for the poems “The Cattle Thief” and “Joseph’s Justice”, through references to the near-extinction of the buffalo and the Riel Rebellion.
READ
“The Cattle Thief”.
GROUPS
ACTIVITY
COLLABORATIVE POEM ANALYSIS
Create a question that forces a person to demonstrate a persons comprehension and interpretation skills. Include a question that involves the poem’s themes, characters, and key lines.
EXAMPLE:
Appendix
Unit 3, Activity 4 - Subtask 1
Sample Questions for Pauline Johnson’s “The Cattle Thief”
Reading Comprehension
The following questions allow you to demonstrate your ability to extract information accurately from a written, poetic text. Your answers need not be in complete sentence form.
1. Who is being chased by the “desperate riders” in stanza one?
2. Who is doing the chasing?
3. What crime has allegedly been committed?
4. What insult is hurled by the men when they do not find the man they’re seeking?
5. What immediate physical response does this insult receive?
6. How do the men intend to treat the dead man’s body?
7. Why do the men back away from the woman, according to the poem?
8. Who is the woman?
9. How does she justify the dead man’s so-called crimes?
10. What accusation does she make towards the group of men?
Interpretation
These questions allow you to demonstrate your ability to interpret the ideas communicated through poetic devices and significant quotations. Your answers should be written in proper sentences and paragraphs.
11. How does the poet create an impression of the English settlers’ natures through her physical description of them?
12. How is the eventual appearance of Eagle Chief ironic, considering the image of him created initially in the poem?
13. What is the significance of Eagle Chief’s physical appearance to the theme of the entire poem?
14. Johnson emphasizes that both Eagle Chief and the woman speak to the English settlers “in the language of the Cree.” What does this information add to your understanding of the poem’s plot and its theme?
15. Explain the meaning of the lines “how have you paid us for our land?/By a book.” Clarify the allusion that the poet is making and how she further develops her idea throughout the final movement.
Groups will exchange the questions and then answer them.
Take up orally.
DAY 2
REVIEW (same groups as previous day)
Conduct an oral, whole-class review of “The Cattle Thief” using material from students’ notes. Upon returning each group’s notes package, recommend that students add to them any new ideas which have surfaced as a result of reflection, discussion, or review.
REVIEW
criteria for a dramatic reading of a poetic narrative.
· modulation of voice (to indicate character and situation)
· variation in volume (to indicate mood of character), and
· body language (to emphasize nuances of meaning and intention).
ACTIVITY
Dramatic reading
Assemble the groups of three for assignment of the parts of narrator, Eagle Chief, and Cree daughter, for a dramatic reading of Johnson’s poem.
Rehearsal time
Presented
Evaluated by peers.
DAY 3
REVIEW
criteria for a dramatic reading of a poetic narrative, using the rubric or checklist created in the previous class. Emphasize that the message ought to be enhanced by the dramatic delivery and that tremendous subtlety and variety is still possible. Each group rehearses and presents their dramatic readings of “The Cattle Thief” to the class.
DISCUSSION
Stress the effective portrayal of character where appropriate. Turn the discussion towards the Cree daughter’s assertion of her own identity and her assertion of various aspects of sovereignty.
Complete peer assessments of their classmates’ presentations.
JOURNAL ENTRY #29 Complete a one-page journal response on the topics of the poem or the presentations.
DAY 4
REVIEW (still in groups)
of the participants and key features of the Riel Rebellion.
READ
with volunteers, Maria Campbell’s “Joseph’s Justice.”
Pose a series of questions to the class to elicit responses about the nature of Joseph’s character as presented by Campbell (he is Métis, an ordinary man, neither presented as heroic, nor noble, in comparison to the looming reputation of Riel; he is, however, perceptive, and recognizes the spiritual aspects of the Riel family and the practical nature of Dumont; Joseph asserts himself and his claims in his own language; it is through this determined assertion that Joseph successfully meets the challenges of injustice, and the barriers to his rightful sovereignty).
ACTIVITY
select any 20 lines of “Joseph’s Justice” for recitation. Choose the lines on the basis of poetic and dramatic expressions of the obstacles to sovereignty and the various responses to those obstacles.
Define obstacles Define responses to obstacles
Present an oral reading and for both an oral and a written explanation of their selection.
DISCUSSION of the two poems similarities & differences
NOTES
JOURNAL ENTRY #30
Personally respond to either poem. What obstacles to sovereignty did the poet use? How did they use it and how did you feel about those obstacles?
UNIT 3
SOVEREIGNTY
SHAPING THE VISION
Duration 5-periods
DAY1
INTRODUCTION
Brief outline of the historical context of Harold Cardinal’s “A Canadian What the Hell It’s All About”, from his book The Rebirth of Canadian Indians. (NL pg211) This is in response to the White Paper.
The confrontational aspect of Aboriginal and non-Aboriginal relationships of the past and present is acknowledged in the essay, and Cardinal presents one possible solution to this historical and ongoing tension, fractiousness, and debate.
Cardinal’s essay is a model of persuasive, written discourse about current challenges. The purposes for studying this prose is so that you will be able to write your own personal persuasive essay as the unit culminating activity.
Cardinal uses rhetorical devices to convince his reader of the soundness of his thesis, the strength of his conclusions, the necessity of “the construction of a bridge of understanding between two worlds”.
READ
the Harold Cardinal reference in the “Notes on Authors” section of An Anthology of Canadian Native Literature in English. (NL pg.497)
READ
the first FOUR paragraphs of the Cardinal essay, in order to effectively introduce the essay’s subject matter and to highlight the author’s use of rhetorical devices.
RHETORICAL DEVICES (done together)
Rhetorical Device | Example from first four paragraphs |
QUESTIONS/NOTES
Conduct a Socratic lesson using the board to assist students in note taking.
Questions should elicit responses regarding the essay’s
Question list (to be done)
· mood (polemical seriousness),
· its subject matter (the issue of Aboriginal /non- Aboriginal relations in Canada
· its tools of emphasis (repetition of conflict words, such as “struggle”, “fighting”, “misunderstanding”, “disastrous”, and “conflict”),
and its thematic unity (clearly pinpointing the idea of problematic relationships in an Aboriginal-Canadian context).
ORAL SUMMARY
give an oral summary from a board outline, to facilitate better note-taking.
READ the remainder of the essay in/for next class, with the direction to compose a statement of Cardinal’s thesis (his specific argument regarding his chosen subject), in the students’ own words.
STATEMENT
What is Cardinal talking about? Write a statement, in your own words, summarizing his thesis. (to be read later in class.)
DAY 2
REVIEW
the first part of Cardinal’s essay.
Drawing upon notes from the previous class, discuss the introductory material.
READ your version of Cardinal’s thesis, based upon their own individual readings for homework.
ACTIVITY
Review with the class the various literary/rhetorical devices of persuasion, such as analogy, paradox, contrast, rhetorical questions, definitions, etc. Pair students and direct each pair to select two rhetorical devices used by Cardinal, from the final paragraph on
p. 211, through the end of p. 213.
p. 211, through the end of p. 213.
· Select TWO rhetorical devices from the last paragraph
· How do these devices enhance Cardinal’s persuasive argument?
· The pair should record all of their findings and commentary, in point form.
· Put the results of your examinations of the text onto the board.
DISCUSSION/
Issue
the challenges presented by terminology in the debate over the idea of Canadianism;
responses to the question “Why do you not want to be Canadian?”;
definitions of the meaning of the word “Canada
definitions of the nature of Canada
NOTES
Headings (finish reading pp.214-217)
personal sovereignty,
collective sovereignty,
political sovereignty, and
spiritual sovereignty.
JOURNAL ENTRY #31
Students answer the following questions: In the context of Aboriginal /Canadian relations in 1977, what is “our communal problem” as it relates to the ideas of communication and understanding?
What does Cardinal mean by the “mirage gap”?
What are some of the “mutually identified goals” mentioned by Cardinal on
pp. 214 -217?
pp. 214 -217?
DAY3
REVIEW
the rhetorical devices and their intended effects in a persuasive essay.
RHETORICAL DEVICE | Intended effect |
ORAL RESPONSE /NOTE creation
the previous three questions (prep time) Make point form notes so you don’t have to read from paper. Know the material.
Teacher asks question/student responds, discussion ensues
In the context of Aboriginal /Canadian relations in 1977, what is “our communal problem” as it relates to the ideas of communication and understanding?
What does Cardinal mean by the “mirage gap”?
the misperceptions of “the other,” which are born of miscommunication (referred to by Cardinal as the “mirage gap”
What are some of the “mutually identified goals” mentioned by Cardinal on
pp. 214 -217?
pp. 214 -217?
Cardinal’s provision of a vision for the future, through a fusion of Aboriginal/Canadian understandings
READ
Cardinal’s conclusion
His vision in the last four paragraphs (p. 217).
ORGANIZATION ASSPECTS OF A PERSUASIVE ESSAY/Notes
CENTRAL PRINCIPLES OF
· thesis,
· antithesis,
· persuasion,
· developed support,
· and conclusion.
In Cardinal’s essay he follows a chronological organization, but still underpins the essay as follows:
· the nature of the historical Aboriginal/European-settler conflicts;
· the meaning of the word Canada
· the current predicament based on the “mirage gap;”
· and finally, the proposed “construction of a bridge of understanding.”
STATEMENT OF SOVEREIGNTY
This statement of sovereignty should address YOUR basis for citizenship (be that citizenship with a clan, community, nation, or Canadian nationality).
EXAMPLE: the Hodinoso:ni world view specifies that nation’s historical background, the linkage to Mother Earth, and concludes with the political and spiritual duties of its people. This, then, is a statement of sovereignty in all of its aspects.
ACTIVITY
You will compose a personal, persuasive essay which effectively communicates your own vision statement of sovereignty, based upon a response to the statement “I am/am not a Canadian.”
Follow the structure of a persuasive essay
ORGANIZATION ASSPECTS OF A PERSUASIVE ESSAY/Notes
CENTRAL PRINCIPLES OF
· thesis,
· antithesis,
· persuasion,
· developed support,
· and conclusion.
DURING THE PROSSES OF THIS PAPER YOU WILL NEED TO HAVE FOUR SIGNATURES ON THE COVER OF YOUR PAPER, ONE FOR EACH OF THE FOLLOWING STAGES.
· Research & works cited list
· Brain storming. Organizational notes. Outline (critique & signed by another student)
· Rough draft (this must be edited)
· Good draft
Submit for evaluation
UNIT 4
CHALLENGES
IDENTIFYING CHALLENGES
Duration 6-periods
DEFINITION/NOTES
Define the term “Challenge”
Challenge is…
Some of the challenges faced by Native Peoples.
Treaty history in B.C.
Residential schools in Canada
Did you know
TWO GROUPS
Generate ideas about challenges faced by Aboriginal people today
Draw from your NOTES on previous units on Identity, Relationships, and Sovereignty.
SHARE
your findings with the whole class by creating a chart
CHALLENGES | RESPONSES/SOLUTIONS |
READ
Rita Joe’s poem “I lost my talk” (NL pg 113)
NOTES
What the poem means
The impact of residential schools which created major challenges in the lives of Aboriginal peoples, including the loss of language.
READ ALOUD passages from the essay “One Generation from Extinction” by Anishnabe author Basil Johnston which pertain to the effects of language loss. (NL pg 99)
NOTES
What the essay means
JOURNAL ENTRY # 31
How does Basil Johnston use the “trickster” idea in the context of challenges to Aboriginal oral language traditions?
READ
Discuss “We, the Inuit, Are Changing” by Martin Martin, Inuk translated.
NOTES
What the poem means
READ
Read the poem “Waking Up” by the Inuk author Alootook Ipellie. (NL pg 318)
What the poem means
JOURNAL ENTRY #32
Think about cultural changes in general. How do people adapt?
REVIEW
Review principles of essay writing; students complete the process of writing a personal essay.
UNIT 4
CHALLENGES
COMPARING CHALLENGES
Duration 4-periods
Planning Notes
Teachers should:
have an understanding of certain assimilationist child-welfare policies (e.g., residential schools,
the 60s scoop, adoption and foster care for Aboriginal children; see Resources) and the problems they created;
the 60s scoop, adoption and foster care for Aboriginal children; see Resources) and the problems they created;
read the novel Keeper ’N Me to be able to select appropriate passages to compare with the other texts and know how the excerpt in the anthology fits into the whole work;
read the autobiography Inside Out to be able to understand the excerpt and select passages for comparison.
Teaching/Learning Strategies
1. The teacher reviews texts from the previous activity and generates a discussion with the whole class about the tone of voice.
READ
REVIEW the poem
“Indian Woman” by Jeannette Armstrong (NL PG.229)
What the poem means
LINKS
“Indian Woman” by Jeannette Armstrong (NL PG.229) | “Pretty Like a White Boy: The Adventures of a Blue Eyed Ojibway” by Drew Hayden Taylor (NL p436) |
JOURNAL ENTRY #33
Select the passages they like best and to write them down.
INTRODUCTORU LECTURE ON CHILD-WELFARE POLICIES
Policies that caused major disruptions in the lives of Aboriginal people
NOTES
TWO AUTHORS
Two Aboriginal authors who write about adoption and foster care, James Tyman and Richard Wagamese.
Responses to identity problems from the excerpts from Inside Out (NL pg 440)
and Keeper ’N Me.
READ ALOUD & DISCUSS
then discuss the authors’ responses in small groups.
READ ALOUD
the poem “My Ledders”, by poet Louise Halfe (NL pg 374),
Use of humour when talking about the challenge and culture theft. Why do people deal with difficult things with humour.
LINK choice of vernacular (how a person talks or writes about something)
“My Ledders”, by poet Louise Halfe (NL pg 374), | |
JOURNAL ENTRY #34
Comment on the use of humour in one of the above pieces
Library resource book
Child-Welfare Policies relating to Aboriginal People
Armitage, Andrew. “Family and Child Welfare in First Nations Communities.” In Wharf, Brian, ed. Rethinking Child Welfare in Canada Toronto , ON
Fournier, Suzanne and Ernie Crey. Stolen From Our Embrace: The Abduction of First Nations Children and the Restoration of Aboriginal Communities. Vancouver
UNIT 4
CHALLENGES
ANALYSING CHALLENGES
Duration 9-periods
Medicine River
PLOT SUMMARY/NOTES
READ
Divide the class into groups and discuss the four novel chapters one by one (i.e., each chapter is analysed by the whole class but discussion results are shared by a different group each day).
NOTES
Theme identification for each chapter entered into JOURNAL NOTES
Show the video Medicine River/NOTES
Challenges faced by Will | Responses/solutions given by Harlen |
DISCUSSION ROUND TABLE
How does Thomas King debunks stereotypes about Aboriginal people; Which episode communicates this particularly well.
ESSAY
Write a short essay (three to four pages) about a major character in Medicine River
UNIT 4
CHALLENGES
ASSESSING SOLUTIONS TO CHALLENGES
Duration 4-periods
challenges faced by specific Aboriginal communities (like Davis Inlet, Pikangikum, Sandy Lake
Davis Inlet
Pikangikum
Hobbema
Windspeaker
AC TIVITY
Select and read for each class a story about challenges in a specific Aboriginal community (e.g., article about diabetes in Sandy Lake
ORAL PRESENTATION
1. summarize the stories orally for the whole class, then write up a response agreeing or disagreeing with suggested solutions.
LETTER TO THE EDITOR
2. In the last class, students write a letter to an editor of a newspaper, a response on an electronic discussion group, or an e-mail to several people expressing their viewpoints in relation to the solutions offered in a media text.
Unit 5 Overview Chart
Activity | Expectations | Assessment Strategies and Tools | Focus/Tasks/Activities |
1 120 min | WRV.01, WRV.02, WRV.03, WR1.01 | - formative - anecdotal K/U, C, I | The class discusses authors who lend themselves to a genre comparison (e.g., Wagamese, novel/journalism; D.H. |
2 120 min | WR1.02, WR3.02, WR3.03, WR3.04 | - assessment and approval by teacher K/U, C, A | Students select material and develop an outline for essay or report. |
3 120 min | WR2.01, WR2.02, WR5.04 | - checklist - peer assessment I, C, A | Students write first drafts and check mechanics. |
4 120 min | WR4.01, WR4.02, WR4.03 | - self-assessment K/U, T/I, C, A | Students revise for content, organization, clarity, voice, and tone. |
5 120 min | WR5.01, WR5.02, ID2.03 | - formal assessment by teacher - rubrics, anecdotal, marks/grades K/U, T/I, C, A | Students: - publish essay or report; - write final journal Entry #35 response from prompt: Who Am I Now? |
This is a Notice
Keep track of your work, because you will be selecting enough material to create, for the 5th Unit a book of your own writings. This book will include a cover page, printed to format and be perfectly bound.
CULMINATING ACTIVITY: everyone must produce their own book of writings.
They must design a book cover.
