Course Profile
Expressing Aboriginal Cultures, Grade 9 open, Public
Course Overview
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.
Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education or by the Partnership of School Boards that supported the production of the document.
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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
Course Overview
Native Studies, Grade 9, Open
School:
Department:
District:
Course Title: Expressing Aboriginal Cultures
Grade: 9
Course Type: Open
Course Code: NAC 10
Credit Value: 1
This course examines Aboriginal cultures in Canada through an exploration of art forms – painting, sculpture, storytelling, dance, and music – created by Aboriginal artists. Students learn to identify Aboriginal art forms and describe relationships between art forms and Aboriginal traditions, philosophy, and culture. Students create their own art forms to express their understanding of Aboriginal identity, relationships, and sovereignty. Unit 5 is a summative evaluation exercise that accounts for application of skills and concepts from the previous four units. Planning for Unit 5 should be introduced at the beginning of the course and reviewed before each unit. Through the use of technology, students connect and exchange learning experiences with their peers locally and globally.
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Unit 1 |
Oracy: Aboriginal Stories |
20 hours |
|
Unit 2 |
Visual Arts |
20 hours |
|
Unit 3 |
Functional Arts and Aboriginal Cultures |
22 hours |
|
Unit 4 |
Music & Dance |
27.75 hours |
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Unit 5 |
Celebrations of Aboriginal Culture Event: Individual and Group Performance Demonstrations |
20.25 hours |
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.
Strand(s): Identity, Relationships, Sovereignty, 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, SO1.08, SO2.01, SO3.03, CH1.05, CH2.02, CH2.03, CH3.03, CH3.04, CH3.05.
Students examine and learn to distinguish between the artistic styles found in Canadian Aboriginal painting, photography, and multimedia presentations. Students interpret the meanings of these art forms in the context of the cultural group, and create art that speaks to issues of personal and contemporary significance.
Strand(s): Identity, Relationships, Sovereignty, Challenges
Overall Expectations: GLV.08, GLV.09, GLV.10, GLV.11, REV.01, REV.02, REV.03, SOV.02, SOV.03, CHV.02, CHV.03, CHV.04.
Specific Expectations: GL1.01, GL1.02, GL1.03, GL1.04, GL1.05, GL1.06, GL1.07, GL1.08, GL2.01, GL2.02, GL2.03, GL2.05, GL3.02, GL3.03, GL3.05, RE1.01, RE1.02, RE1.03, RE1.04, RE2.03, RE3.02, RE3.03, RE3.04, RE3.06, SO1.01, SO1.03, SO1.05, SO1.08, CH1.02, CH1.03, CH1.04, CH2.01, CH1.04, CH3.02.
In this unit students examine the diversity of Aboriginal functional art within the traditional and contemporary context, including: canoe and watercraft design, clothing, and architecture. The significance of women’s work to Aboriginal art and culture is an important theme in this unit as is the relationship between the natural environment, Aboriginal culture, and the products of that culture.
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.04.
Specific Expectations: GL1.01, GL1.02, GL1.03, GL1.04, GL1.05, GL1.06, GL1.07, GL1.08, GL2.02, GL2.05, GL3.01, GL3.02, GL3.03, GL3.04, GL3.05, RE1. 02, RE1.03, RE1.04, RE2.01, RE2.02, RE3.02, RE3.04, RE3.06, SO1.01, SO1.02, SO1.03, SO1.04, SO1.05, SO1.06, SO1.08, SO2.02, SO3.01, SO 3.02, SO3.03, CH1.05, CH2.01, CH 3.02.
In this unit, students examine and identify music and dance styles in the Canadian Aboriginal experience. Students interpret meanings of chants, songs, and dances; identify the instruments required to create Aboriginal music; recognize the materials necessary to make Aboriginal instruments and dance costumes; and are able to identify significant Aboriginal music and regalia contributors.
Strand(s): Identity, Relationships, Sovereignty, 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.03, CHV.04.
Specific Expectations: GL1.02, GL1.04, GL1.05, GL1.06, GL1.07, GL2.01, GL2.01, GL2.03, GL2.04, GL2.05, GL3.01, GL3.03, RE1.02, RE1.03, RE1.04, RE2.02, RE3.01, RE3.02, RE3.04, RE3.06, SO1.01, SO1.02, SO1.03, SO1.05, S01.08, SO2.01, SO3.01, SO3.02, SO3.03, CH1.01, CH1.03, CH1.04, CH1.05, CH2.02, CH3.03, CH3.04.
In this culminating unit students develop a presentation that forms part of the “Celebration of Aboriginal Culture Day” which is intended to be a school-wide focus on Aboriginal culture. Individual or small group presentations use themes, skills, and knowledge developed by the students over the preceding four units in this course.
Strand(s): Identity, Relationships, Sovereignty, Challenges
Overall Expectations: GLV.08, GLV.10, REV.01, SOV.03, CHV.01, CHV.04.
Specific Expectations: GL3.01, GL3.04, RE1.01, RE1.02, SO1.03, SO2.01, CH1.05, CH2.02, CH2.03, CH3.01, CH3.05.
1. The activities within this profile represent suggestions, carefully considered to assist the teacher in achieving the expectations of this course. It is expected that teachers of Native Studies in various parts of the province adapt the course content to best reflect the students, local context, and community needs.
2. For most successful delivery of this course, it is suggested that teachers gather resources well in advance of teaching the course. This is especially important due to the historical lack of textbooks for Native Studies course work. Many resources require acquisition from sources not commonly used by teachers, such as Cultural Centres or Native Studies libraries. In addition, teachers can optimize the wealth of community connections in the course by presenting students with abundant co-operative and work experience opportunities. Finally, this course presents a superb example for many teachers to share their strengths in experience and expertise by exploring a team teaching approach.
3. The traditional Aboriginal perspective with respect to artistic activity and its products differs in some important ways from the view of art prevalent in 'Western' culture. Not the least of these distinctions has been that for Aboriginal cultures the production of "art" (this term itself is a foreign concept), is not restricted to those deemed to be gifted with special talent. Instead, it is something practised by all members of the community. Art directed towards the utilities of life serves as a cultural touchstone for all members of the group, regardless of their level of skill in a particular art form.
4. It is expected that students be given opportunities during the course to utilize technology (e.g., computer databases, CD-ROMs) to enhance and develop their research skills. A research project investigating the life of an Aboriginal artist or the traditional forms of dance in different Aboriginal cultures are examples of ways in which technology-assisted research skills can be honed. As well, the technological skills practised in Unit 5 to achieve videotaped performance, computer composition, and Internet use serve as additional examples of the use of technology.
Several different well known approaches to teaching and learning can be used to provide strategies appropriate to Native Studies. Foremost among the principles of Aboriginal education is the belief that learning with the heart is as important as learning with the mind. Holistic and transformative learning and teaching, for instance, are also consistent with the principles of Aboriginal education and the expectations of this course. Learning in a safe, non-authoritarian environment enhances student-teacher interaction and fosters individual responsibility. Teachers in Native Studies can foster a student's emotional and spiritual growth by making explicit the connection between a culture's objects, concepts and ideas, and the student's inner life. Guided imagery, visualization, deep reflection, creative dreaming, talking circles, ceremony, and ritual are all examples of teaching strategies valued by both traditional Aboriginal education and holistic/transformational education.
The work of Howard Gardner has contributed to a new understanding of intelligence and an appreciation for the diversity of human abilities (Gardner, 1983). Gardner’s multiple intelligence theory provides a useful perspective on the development of teaching strategies and is very much in keeping with a holistic approach to personal development. The circle reminds us that human beings represent a fusion of the spiritual, emotional, physical, and mental. Teaching and learning strategies should seek to reflect this Aboriginal principle of balance and harmony. This course presents teachers with many opportunities to craft lessons which support and develop all four dimensions.
The fostering of community connections is an important, perhaps essential, teaching and learning strategy for Native Studies. Whenever possible, Aboriginal elders, artists, and others members of local Aboriginal communities should be invited to participate in instruction and mentoring. For example, in urban centres, seek out the local Native Friendship Centre and in communities with neighbouring Aboriginal communities, seek out the local band office.
Teaching/Learning Strategies described in courses such as Dramatic Arts, Music, Dance, Visual Arts and History are generally also appropriate for this course, which is intrinsically inter-disciplinary in character.
Grade 9 Native Studies is an open-level course and is preparation for the Grade 10 Native Studies course. Assessment is largely formative throughout the first four units. The final unit emphasizes a summative, complex-skill performance evaluation that includes students in the determination of criteria for this evaluation. The criteria may take the form of negotiated rubrics (student and teachers agree on criteria for assessment) and/or observation checklists and may be based on the following items: written stories, oral presentations, response journal entries, peer-assessment, creation of products, tests, group skills, performance, and self-assessment.
Teachers are encouraged to consult Program Planning and Assessment, 1999, p. 12.
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Oujebougamou. Focus North series, CBC Educational Sales, 1994.
Prouty, D. For Angela. Ottawa, ON: National Film Board, 1994, 25 min.
Qaunak & Napachie: More than Throat Singers. Oakville, ON: Magic Lantern Communications Ltd., 1994.
Raven's Feather Dance – A Creation Legend. Ottawa, ON: National Film Board, 1990, 9 min.
Return to Eagle Rock: The Art of Roy Henry Vickers. Ottawa, ON: National Film Board, 1996.
Rickard, P. Okimah. Ottawa, ON: National Film Board, 1998, 51 min.
Sedna: The Making of a Myth. Ottawa, ON: National Film Board, 1992, 59 min.
Spirit of the Mask. Ottawa, ON: National Film Board, 1976, 60 min.
Spirit Speaking Through: Canadian Woodland Artists. Toronto, ON: CBC Educational Sales, 1981, 60 min.
Square Dancing, Vol. 3. Chisasibi: Chisasibi Cree Nation, 1999, 60 min.
Standing Alone, First Nations: The Circle Unbroken Series, Ottawa, ON: National Film Board, 1993.
Ste. Marie, B. Up Where We Belong. Toronto, ON: Canadian Broadcasting Corporation, 1991.
The Shadow and the Spirit. Toronto, ON: CBC Educational Sales,
The Teaching Rocks. Bancroft, ON: Ministry of Natural Resources, 1986, 32 min.
Thomas, J. The Creation Story. Six Nations, ON: Jake Thomas Institute, 1992, 180 min..
Todd, L. Hands of History. Ottawa, ON: National Film Board, 1994, 52 min.
Traditional Dances/Parliamentary Legislation. Oakville, ON: Magic Lantern Communications Ltd., 1994, 30 min.
Tradition with a Twist, Oakville, ON: Magic Lantern Communications Ltd., 1990, 30 min
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.
The Woman Who Raised a Bear as Her Son. Ottawa, ON: National Film Board, 1990, 30 min.
Adams, Charlie. Quviasupunga. Montreal: Inukshuk Records, 1997.
Aglukark, Susan. Arctic Rose. Mississauga: Emi Records, 1998.
Aglukark, Susan. This Child. Mississauga: Emi Records, 1996.
Allegheny Singers. Ohwejagehka Gaenasho:oh. Ohsweken, ON: CKRZ SONICS FM, 1996.
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.
Bullhead, Earl. Walking the Red Road. Albuquerque: Soar Corporation, 1986.
CKRZ SONICS FM. Ohi:yo Sing: At Cold Spring Longhouse. Allegheny Territory, 1995.
Elk Nation Singers. Spirit Drum. Kakewood, Co.: Etherean Music, 1988.
Evans, R. The First Dog and other Chippewa-Cree Stories. New York: Harper-Collins, 1990.
First Nations Music. I am an Eagle. Sioux Lookout. ON: First Nations Music Inc., 1993.
Irocrafts Ltd. Iroquois Social Dance Songs, Volume 3. Ohsweken, ON: Irocrafts, 1992.
Jerry Alfred & the Medicine Beat. Etsi Shon. Red House.
Kashtin. Innu. Pointe Clair: Grope Concept Musique, 1991.
Kashtin. Kashtin. Pointe Clair: Grope Concept Musique, 1990.
Kashtin. Akua Tuta. Pointe Clair: Grope Concept Musique, 1994.
Martin, Lawrence. Message. Sioux Lookout: First Nations Music, 1995.
Martin, Lawrence. Wapistan is Lawrence Martin. Sioux Lookout: First Nations Music, 1998.
Miller, Bill. Reservation Road. Nashville: Rosebud 1999.
Miller, Bill. Old Dreams, New Hopes. Nashville: Rosebud, 1992.
Ningiuk, Charlie. Innuuqatik. Monteal: Inukshuk Records, 1998.
Northern Cree Singers. Live at Fort Duchesne. Vol. 3. Phoenix: Canyon Records, 1996.
Northern Wind Singers. Northern Wind Singers, Vol.9. Winnipeg: Sunshine Records, 1987.
Qimutjuit Band. Cousin. Monteal: Inukshuk Records, 1997.
Porter, M. 1492 Who Found Who. Sioux Lookout: First Nations Music, 1993.
Locke, K. The Flood and other Lakota Stories. New York: Harper-Collins Publishers, 1990.
Iroquois Social Dance Songs, (V.1, 2, 3). Eastern Music.
Porter, M. 1492 Who Found Who. Sioux Lookout, ON: First Nations Music Inc., 1993.
Robertson, R. Contact from the Underworld of Redboy. Mississauga, ON: Capitol Records, 1998.
Ste. Marie, B. It’s My Way. Santa Monica, CA: Vanguard Records, 1964.
Ste. Marie, B. Up Where We Belong. Mississauga: EMI Records, 1996.
Shenondoah, Joanne. Joanne Shenondoah. Phoenix: Canyon Records, 1998.
Shenondoah, Joanne. Lifeblood. Boulder, Co.: Silverwave Records, 1997.
Shenondoah, Joanne. Matriarch. Boulder, Co.: Silverwave Records, 1996.
Shenondoah, Joanne. Once in a Red Moon. Boulder, Co.: Silverwave Records, 1993.
Shenandoah, Joanne. Orenda. Boulder, Co.: Silver Wave Records, 1995.
Six Nations Women. We Will All Sing. Albuquerque: Soar Corporation, 1999.
Stewart, J.J. Legends: I am a Eagle. Sioux Lookout: First Nations Music Inc., 1993.
Tehanetorens. The Gift of the Great Spirit: Iroquois Lesson Stories. Greenfield Centre, NY: Good Mind Records, 1988.
Thunderchild, Vic. Vic Thunderchild. Winnipeg: Sunshine Records, 1998.
Tumassi. Quitsaq. Montreal: Inukshuk Records, 1999.