Course Profile English: Contemporary Aboriginal Voices, Grade 11, College Preparation, Public

Unit 3: Sovereignty

Time: 25 hours

Activity 1 | Activity 2 | Activity 3 | Activity 4 | Activity 5

Unit Description

In this unit, students examine the evolving nature of the concept of sovereignty. They demonstrate an understanding of the traditional view of Aboriginal communities, which reflects the relationships among the Creator, the Land, and the People. They 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. Students 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.

Strand(s) & Learning Expectations

Strand(s): Sovereignty, Writing

Overall Expectations

SOV.01 - describe the issues of identity and culture as they relate to sovereignty, as expressed in works by Aboriginal writers;

SOV.02 - describe how sovereignty is expressed in works by Aboriginal writers;

SOV.03 - demonstrate an understanding of the language used in Aboriginal works in connection with sovereignty issues;

SOV.04 - apply their knowledge of vocabulary and language conventions to read, write, and speak effectively while identifying, developing, or describing Aboriginal sovereignty;

SOV.05 - analyse themes related to sovereignty, as portrayed in media works by Aboriginal creators;

WRV.02 - select and use appropriate writing forms for various purposes and audiences, focusing on reports, correspondence, and persuasive essays;

WRV.03 - use a variety of organizational structures and patterns to produce coherent and effective written work;

WRV.04 - revise their written work, independently and collaboratively, focusing on accuracy of information, clear expression, and consistent use of voice;

WRV.05 - edit and proofread to produce final drafts, using correctly the grammar, usage, spelling, and punctuation conventions of standard Canadian English, as presented for this course, with the support of print and electronic resources when appropriate.

Specific Expectations

Aboriginal Voices in Literature

SO1.01 - identify different definitions of sovereignty (e.g., personal sovereignty, spiritual sovereignty, collective sovereignty, political sovereignty), as expressed in the works of Aboriginal writers;

SO1.02 - assess the impact of Aboriginal sovereignty on Canadian society, as portrayed in the works of Aboriginal writers (e.g., Connie Fife, Taiaiake Alfred);

SO1.03 - identify the role and importance of sovereignty in contemporary Aboriginal communities, as portrayed by Aboriginal writers (e.g., Brian Maracle, Lenore Keeshig-Tobias, Tomson Highway, Beth Cuthand);

SO1.04 - describe the responses of Aboriginal writers (e.g., Maria Campbell, Drew Hayden Taylor, Lee Maracle) to barriers to Aboriginal sovereignty erected by Canadian society.

Language

SO2.01 - express themselves clearly in a variety of spoken and written communications on the topic of Aboriginal sovereignty, using appropriate vocabulary and figurative language;

SO2.02 - develop an understanding of the language used to affirm Aboriginal sovereignty (e.g., in statements such as Aboriginal people will never again be the objects of public policies of assimilation and extinguishment).

Aboriginal Voices in Media Works

SO3.01 - demonstrate an understanding of images associated with sovereignty issues in Aboriginal media works;

SO3.02 - demonstrate an understanding of an Aboriginal community’s efforts to achieve sovereignty, as represented in media works by Aboriginal creators;

SO3.03 - explain how the form, style, and language of a variety of media forms are used to communicate messages that have sovereignty implications.

Generating Ideas and Gathering Information

WR1.01 - investigate potential topics by formulating questions, identifying information needs and purposes for writing, and developing research plans to gather information and ideas (e.g., consult a CD-ROM to find information for a report about the author of a novel; identify the accessibility of relevant sources for a class presentation on a social issue);

WR1.02 - classify and organize information and ideas to suit specific forms and purposes for writing (e.g., sort information from different sources for a report on effective business practices; organize information to support the arguments for an opinion piece; use a graphic organizer to make connections between ideas or to show time order in a narrative);

WR1.04 - use information and ideas from prior knowledge and research to develop content for writing (e.g., interview an employee for an essay about teamwork and cooperation in business; apply knowledge of characterization techniques to write a short essay about the major character in a novel by an Aboriginal writer).

Choosing the Form to Suit the Purpose and Audience

WR2.01 - select and use appropriate informational or literary forms to produce written work for specific audiences and purposes, with an emphasis on reports, correspondence, and persuasive essays (e.g., summarize a magazine article on a topic of personal interest for a report to the class; write a letter requesting information about a college program; write a short essay presenting a solution to a community problem);

WR2.02 - select and use a level of language and a voice appropriate to the specific purpose and intended audience for business, technical, and personal communications (e.g., use an appropriate voice to convey information about a policy in a memo).

Organizing Ideas and Information in Written Work

WR3.01 - select and use appropriate organizational patterns to structure written work (e.g., use a question-and-answer format to organize an information pamphlet about a product or service; use chronological order and flashbacks to organize information about a character in a script; use classification to organize a class anthology of student writing);

WR3.03 - apply knowledge of essay structure to organize short essays, using (a) an introduction that engages the reader’s interest, introduces the thesis or controlling idea, and previews the organization or content of the essay; (b) a body that develops ideas logically and coherently and incorporates well-chosen, relevant evidence to support each idea; and (c) a conclusion that follows logically from the thesis and ideas developed in the body, summarizes the key points and organization in the body, and makes a thoughtful generalization related to the controlling idea;

WR3.04 - use organizational patterns such as cause and effect, classification, and definition to present information and ideas in reports and short essays.

Revising Drafts

WR4.01 - revise drafts to strengthen content and improve organization by adding details, deleting irrelevant information, and reordering ideas (e.g., revise a report to list a series of recommendations in order of priority; delete irrelevant arguments to enhance the impact of a persuasive essay; add details to reveal more about a character’s motivations);

WR4.03 - revise drafts to ensure consistent use of an appropriate voice and tone (e.g., highlight pronouns to check for consistent use of person in a report or memo; use feedback from a peer conference to assess the appropriateness of voice used in a set of instructions or tone in a character’s direct speech).

Editing, Proofreading, and Publishing

WR5.04 - edit and proofread their own and others’ writing, identifying and correcting errors according to the requirements for grammar, usage, spelling, and punctuation listed below.

Grammar and Usage: use parts of speech correctly, including participles and gerunds;

Grammar and Usage: construct a variety of correct sentences, including compound-complex sentences, using conjunctions; prepositional and gerund phrases; and noun, adjective, and adverb clauses;

Grammar and Usage: make pronouns agree with their antecedents, and subjects with their predicates, even when widely separated in a sentence or paragraph;

Grammar and Usage: use active and passive verb voice to suit purpose and audience;

Grammar and Usage: use correct parallel structure;

Grammar and Usage: identify and correct sentence errors in their own and others’ writing;

Grammar and Usage: identify deliberate uses of ungrammatical structures in advertisements, poetry, and oral language;

Spelling: demonstrate understanding of a variety of spelling patterns, rules, and strategies by analysing and correcting spelling errors;

Spelling: use homophones and commonly confused words correctly;

Spelling: spell correctly specific business, technical, and literary terms used in course materials;

Spelling: use a variety of print and electronic resources to flag possible errors and improve spelling;

Punctuation: use punctuation correctly and for rhetorical effect, including the question mark, exclamation mark, comma, semicolon, and colon, as well as quotation marks, parentheses, brackets, and ellipses.

Activity Titles (Time and Sequence)

Activity 1	Reclaiming a Heritage	240 minutes
Activity 2	Discovering a Voice	480 minutes
Activity 3	Empowering through Writing	180 minutes
Activity 4	Challenging the Obstacles	300 minutes
Activity 5	Shaping the Vision	300 minutes

Prior Knowledge & Skills

This unit builds upon the analytic, reading, writing, oral communication, and thinking skills developed in The Ontario Curriculum, Grades 9 and 10, English program. This unit extends the historical and contemporary issues examined in the Grade 10course Aboriginal Peoples in Canada. Knowledge of local community concepts of Aboriginal identity and how the Aboriginal community views itself should be explored.

Unit Planning Notes

Teachers should:

· ensure that all resources are available in the classroom, the Library/Resource Centre, and the Arts Department. If resources are not available, then alternative materials should be selected in conjunction with the school library staff, other teachers, or information from the Internet;

· review An Anthology of Canadian Native Literature in English and pre-read the plays by Drew Hayden Taylor, The Boy in the Treehouse and Girl Who Loved Her Horses, which comprise the primary texts for Unit 3. Teachers could also read Drew Hayden Taylor’s Toronto at Dreamer’s Rock, both for background on the playwright’s work and for insight into the dream vision quest motif;

· review the unit to develop an understanding of the sequence of activities, assignments, culminating activity requirements, issues addressed, grammar, usage, spelling, and punctuation conventions;

· consider how to establish a safe and collaborative environment in the classroom. This can be achieved by researching and becoming familiar with contemporary Aboriginal voices in literature and media works prior to the unit being taught;

· be familiar with literature that illustrates the theme of Sovereignty and with other relevant material.

Resources

Print

Campbell, Maria. Maria Campbell Translated: Stories of the Road Allowance People. Penticton: Theytus, 1995.

Jaine, Linda and Drew Hayden Taylor. Voices: Being Native in Canada. Saskatoon: University of Saskatchewan, 1992. ISBN 0888803265

Johnson, Basil. Ojibway Heritage. Toronto: McClelland and Stewart, 1984. ISBN 0771044410

Johnson, Basil. Ojibway Ceremonies. Toronto: McClelland and Stewart, 1987. ISBN 0771044453

Lutz, Hartmut. Contemporary Challenges: Conversations with Canadian Native Authors. Saskatoon: Fifth House, 1991. ISBN 092007975X

Moses, Daniel David and Terry Goldie. An Anthology of Canadian Native Literature in English, 2nd ed. Don Mills: Oxford University Press, 1998. ISBN 0195412826

Taylor, Drew Hayden. The Boy in the Treehouse/Girl Who Loved Her Horses. Vancouver: Talonbooks, 2000. ISBN 0889224412

Taylor, Drew Hayden. Toronto at Dreamer’s Rock. Saskatoon: Fifth House, 1990. ISBN 0920079644

Wagamese, Richard. Keeper ’N Me. Toronto: Doubleday Canada Limited, 1994. ISBN 0385254520

Background on Riel and the Rebellion

Alfred, Taiaiake. Peace, Power, Righteousness: an Indigenous Manifesto. Don Mills: OUP, 1999.
ISBN 0-19-541216-8

Bowsfield, Hartwell. Louis Riel: the rebel and the hero. Toronto: Oxford, 1971. ISBN 0195401824

Brown, R.C. and M.E. Prang. Confederation to 1949. Scarborough: Prentice Hall, 1966. LCCN 6523527

Hacker, Carlotta. The Book of Canadians. ISBN 0888302436

Howard, Joseph. Strange Empire: Louis Riel and the Métis People. Toronto: James Lewis and Samuel, 1952. ISBN 0888620594

Morton, Desmond. Rebellions in Canada. Toronto: Grolier, 1979. ISBN 0717218007

Six Nations at Grand River Territory. “Hodinoso:ni World View” The Sacred Trust of the Hodinoso:ni Confederacy. 1992. Woodland Cultural Centre, 184 Mohawk St., P.O. Box 1506, Brantford, ON
N3T 5V6, library@woodland-centre.on.ca

Websites

www.library.usask.ca/northwest/background/riel.htm

www.escape.ca/~shsb/Riel/erebellion.htm

www.fallenmatyrs.com/canada.htm

www.canadahistory.about.com

http://www.goodminds.com, helpme@goodminds.com

Activity 1: Reclaiming a Heritage

Time: 240 minutes

Description

This activity focuses on the definition of sovereignty presented in Drew Hayden Taylor’s The Boy in the Treehouse. Students study this play to recognize the importance of cultural identification and heritage in creating a solid foundation for a sense of personal identity and sovereignty.

Strand(s) & Learning Expectations

Strand(s): Sovereignty, Writing

Overall Expectations

SOV.01 - describe the issues of identity and culture as they relate to sovereignty, as expressed in works by Aboriginal writers;

SOV.02 - describe how sovereignty is expressed in works by Aboriginal writers;

SOV.03 - demonstrate an understanding of the language used in Aboriginal works in connection with sovereignty issues;

SOV.05 - analyse themes related to sovereignty, as portrayed in media works by Aboriginal creators;

WRV.02 - select and use appropriate writing forms for various purposes and audiences, focusing on reports, correspondence, and persuasive essays;

WRV.03 - use a variety of organizational structures and patterns to produce coherent and effective written work;

WRV.04 - revise their written work, independently and collaboratively, focusing on accuracy of information, clear expression, and consistent use of voice;

Specific Expectations

SO1.02 - assess the impact of Aboriginal sovereignty on Canadian society, as portrayed in the works of Aboriginal writers (e.g., Connie Fife, Taiaiake Alfred);

SO2.01 - express themselves clearly in a variety of spoken and written communications on the topic of Aboriginal sovereignty, using appropriate vocabulary and figurative language;

WR3.04 - use organizational patterns such as cause and effect, classification, and definition to present information and ideas in reports and short essays;

WR5.04 - edit and proofread their own and others’ writing, identifying and correcting errors according to the requirements for grammar, usage, spelling, and punctuation listed below.

Grammar and Usage: use parts of speech correctly, including participles and gerunds;

Grammar and Usage: construct a variety of correct sentences, including compound-complex sentences, using conjunctions; prepositional and gerund phrases; and noun, adjective, and adverb clauses;

Grammar and Usage: make pronouns agree with their antecedents, and subjects with their predicates, even when widely separated in a sentence or paragraph;

Grammar and Usage: use active and passive verb voice to suit purpose and audience;

Grammar and Usage: use correct parallel structure;

Grammar and Usage: identify and correct sentence errors in their own and others’ writing;

Grammar and Usage: identify deliberate uses of ungrammatical structures in advertisements, poetry, and oral language;

Spelling: demonstrate understanding of a variety of spelling patterns, rules, and strategies by analysing and correcting spelling errors;

Spelling: use homophones and commonly confused words correctly;

Spelling: spell correctly specific business, technical, and literary terms used in course materials;

Spelling: use a variety of print and electronic resources to flag possible errors and improve spelling;

Prior Knowledge & Skills

This activity builds upon students’ skills in reading (silently and aloud). Knowledge of dramatic conventions enhances discussion of the play, as does knowledge of traditional Aboriginal vision quest concepts and rituals.

Planning Notes

Teachers should:

· read The Boy in the Treehouse, identifying the relevant thematic issues (mixed ancestry, identity confusion, coming of age), and dramatic elements (set design, stage directions, special effects); also, see Resources for Basil Johnson’s Ojibway Heritage and Ojibway Ceremonies, which offer a more specific background on the idea of vision quests;

· prepare an introduction to Unit 3 as a whole, which presents sovereignty as an idea that will develop and evolve through the study of a variety of texts, in a variety of genres.

Teaching/Learning Strategies

1. The teacher introduces Unit 3 with a brief outline of activities, emphasizing textual variety and a gradual evolution of the concept of sovereignty.

2. The teacher reads 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. Remind students that the 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.

3. Read scene two aloud (or use student volunteers). Students should record their initial impressions of FATHER and of the relationship between Simon and his father. Either prior to or following class discussion, students respond to the following questions: 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?

4. Before the next class, assign individual reading of scene three.

5. Use a brief, oral quiz on the content of the first three scenes to review the previous day’s work. Students discuss the introduction of the character PATTY and debate the realism of the interaction between Patty and Simon.

6. Read scene four aloud. Lead an oral, whole-class discussion of the function 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?

7. Students read scene five silently; they are now approximately halfway through the play. Assign 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? What is Simon looking for? Does Simon seem childish or immature? Is the play taking Simon seriously or not?

8. Begin class with a review of the play so far and a brief discussion of the questions posed as journal ideas in the preceding class. Before looking at scene six, draw students’ attention to the ever-widening circle of observers: Simon at the centre, then his Father, Patty, a Neighbour, and now, the Police. Students consider the varying responses of these different audiences to Simon’s efforts to achieve personal sovereignty. Read scene six. Read scene seven aloud. Ask students, either orally or as a written task: 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?

9. For next class, assign the reading of scene eight. Have students prepare 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 will it take to bring you back down to earth?”

· “This has nothing to do with being Native.”

· “If half of this tree was taken away, do you think it would be able to stand?”

10. Begin the class with a discussion of the key lines assigned as homework for scene eight. Draw attention to the impact and connotations of specific words and phrases (e.g., What implication is contained in the reporter’s question about Simon “coming back down to earth”?).

11. Prepare students for reading the final scene by considering the obtuseness and triviality represented in the portrayal of the media in scene eight. Students contrast this attitude with the attitude of Simon’s UNCLE CLYDE. Students consider the symbolic significance of Clyde’s role and the effect of the playwright’s juxtaposition of the REPORTER and Clyde. Read scene nine.

12. In a final journal response, students respond to: 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?

Assessment & Evaluation of Student Achievement

· formative assessment of literature comprehension for Knowledge/Understanding and Communication, by teacher using a marking scheme

· formative assessment of reflective journal for Communication and Thinking/Inquiry, by teacher using anecdotal comments.

Accommodations

This activity can involve reading aloud in role. Some students may benefit from having specific reading responsibilities assigned in advance, to allow for pre-reading and practice. The written responses are adjusted in length and frequency, through the provision of scribes, or with oral response alternatives.

Resources

Johnson, Basil. Ojibway Heritage. Toronto: McClelland and Stewart, 1984. ISBN 0-7710-4441-0

Johnson, Basil. Ojibway Ceremonies. Toronto: McClelland and Stewart, 1987. ISBN 0771044453

Taylor, Drew Hayden. The Boy in the Treehouse/Girl Who Loved Her Horses. Vancouver: Talonbooks, 2000. ISBN 0-88922-441-2

Wagamese, Richard. Keeper ’N Me. Toronto: Doubleday Canada Limited, 1994. ISBN 0385254520

Activity 2: Discovering a Voice

Time: 480 minutes

Description

This activity provides students with a clear contrast in dramatic expressions of the search for identity and adds to students’ evolving definition of sovereignty. Drew Hayden Taylor’s play Girl Who Loved Her Horses demonstrates the need for full and free expression of the spirit; as well, the play articulates many of the barriers to sovereignty, which result from the oppression and suppression of that spirit.

Strand(s) & Learning Expectations

Strand(s): Sovereignty, Writing

Overall Expectations

SOV.01 - describe the issues of identity and culture as they relate to sovereignty, as expressed in works by Aboriginal writers;

SOV.02 - describe how sovereignty is expressed in works by Aboriginal writers;

SOV.04 - apply their knowledge of vocabulary and language conventions to read, write, and speak effectively while identifying, developing, or describing Aboriginal sovereignty;

SOV.05 - analyse themes related to sovereignty, as portrayed in media works by Aboriginal creators;

WRV.02 - select and use appropriate writing forms for various purposes and audiences, focusing on reports, correspondence, and persuasive essays;

WRV.03 - use a variety of organizational structures and patterns to produce coherent and effective written work;

Specific Expectations

SO1.04 - describe the responses of Aboriginal writers (e.g., Maria Campbell, Drew Hayden Taylor, Lee Maracle) to barriers to Aboriginal sovereignty erected by Canadian society;

SO2.01 - express themselves clearly in a variety of spoken and written communications on the topic of Aboriginal sovereignty, using appropriate vocabulary and figurative language;

SO3.01 - demonstrate an understanding of images associated with sovereignty issues in Aboriginal media works;

SO3.02 - demonstrate an understanding of an Aboriginal community’s efforts to achieve sovereignty, as represented in media works by Aboriginal creators;

SO3.03 - explain how the form, style, and language of a variety of media forms are used to communicate messages that have sovereignty implications;

WR5.04 - edit and proofread their own and others’ writing, identifying and correcting errors according to the requirements for grammar, usage, spelling, and punctuation listed below.

Grammar and Usage: use parts of speech correctly, including participles and gerunds;

Grammar and Usage: construct a variety of correct sentences, including compound-complex sentences, using conjunctions; prepositional and gerund phrases; and noun, adjective, and adverb clauses;

Grammar and Usage: make pronouns agree with their antecedents, and subjects with their predicates, even when widely separated in a sentence or paragraph;

Grammar and Usage: use active and passive verb voice to suit purpose and audience;

Grammar and Usage: use correct parallel structure;

Grammar and Usage: identify and correct sentence errors in their own and others’ writing;

Grammar and Usage: identify deliberate uses of ungrammatical structures in advertisements, poetry, and oral language;

Spelling: demonstrate understanding of a variety of spelling patterns, rules, and strategies by analysing and correcting spelling errors;

Spelling: use homophones and commonly confused words correctly;

Spelling: spell correctly specific business, technical, and literary terms used in course materials;

Spelling: use a variety of print and electronic resources to flag possible errors and improve spelling;

Prior Knowledge & Skills

This activity builds upon students’ knowledge of dramatic elements from previous activities and upon earlier lessons on visual imagery. The familiarity with The Boy in the Treehouse also allows students to consider the potential for diversity of voice and perspective within a single Aboriginal author’s work, in preparation for the culminating activity for the course.

Planning Notes

Teachers should:

· pre-read Girl Who Loved Her Horses; the play alludes to a number of potentially difficult personal, familial, communal, and cultural issues which should be approached with sensitivity and awareness;

· consider reading the original short prose version of “The Girl Who Loved Her Horses”, (see Resources), and consider possible links and comparisons to the play version used here;

· consult with various school and community resource persons to gain some perspective on the significance of visual art in Aboriginal cultures; possibilities exist for the development of a cross-curricular project with the Arts department;

· review the elements of personal correspondence (letter and e-mail conventions).

Teaching/Learning Strategies

1. Set the stage for the study of Girl Who Loved Her Horses by reviewing the significant moral in The Boy in the Treehouse. Emphasize the positive message and positive family portrait presented in that play. As an introductory writing activity, students 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. Students retain the letters for the portfolio being created throughout the activity.

2. Read scene one to students. 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!”). For the next class, students assess the dramatic effectiveness of this scene: Does the opening capture the audience’s interest? What information is communicated? What questions are raised? (For teachers considering comparisons to Taylor’s short-story version, the differences in the openings are quite dramatic and accessible to the student readers.)

3. Begin class with a brief review of the opening scene, then proceed to reading scene two aloud. Without any class discussion, assign each student the task of creating five questions about scene two: two questions about content, two questions about character, and one question about either structure (chronology, imagery), or theme.

4. Students exchange questions with a partner, and answer their partner’s questions. The teacher collects the work from each pair, to use as review at the beginning of next class.

5. Conduct an oral, whole-class review of scene two, using student-generated work on plot, character, structure, and theme.

6. Read scenes three and four aloud. Have students discuss their reactions to the non-linear chronology, the images of a much younger RALPH and WILLIAM, the introduction of a young DANIELLE, and the now recurrent image of the HORSE. Ask students to contribute all of the specific information revealed through the non-verbal scene four. List the information in point form on the board, and assign the task of writing a prose synopsis of the play up to and including scene four, limiting themselves exclusively to content about which they are very confident. Assign individual reading of scene five and consider pre-assigning roles for student readers.

7. Assign parts for oral reading of scene five. Try to have students’ reading evoke the dynamics of Ralph, William, and SHELLEY, compared to the almost invisible presence of Danielle.

8. Following the reading, students draw their first sketches in response to the following: 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!! These visual expressions are included in students’ activity work portfolios.

9. For next class, have students read scene six.

10. Review scene five briefly, then have scenes six and seven read aloud. Ask students to describe the dynamic of the encounter between William and Danielle. In the same student pair groupings as earlier, assign the task of creating a theory to explain the tension in the William/Danielle relationship, based only upon direct evidence or clues from the text of the play.

11. After discussion of these ideas, briefly suggest the idea that 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.

12. Students pre-read scene eight for next day.

13. Students demonstrate their comprehension and interpretation skills by completing a quiz about scene eight. The questions should be a mix of content, interpretive, and speculative/imaginative answer.

14. 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.

15. For homework, have students 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?).

16. Read scenes nine and ten. Ask the class to consider 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.

17. Read the final scene. Have students compose a personal letter, which addresses the most significant obstacles to achieving their 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 students’ activity work portfolios.

18. Assign a second drawing to convey either each student’s 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 students’ activity work portfolios.

19. The teacher collects each student’s work portfolio for assessment and evaluation. Consider assigning students the task of selecting one “Best Piece” of work from the portfolio to be polished and given particular evaluative attention.

Assessment & Evaluation of Student Achievement

· formative assessment of personal letter for Communication and Application, by self and peers using a checklist and rubric

· formative assessment of student-generated questions for Knowledge/Understanding and Application, by self and peers using a marking scheme.

· summative assessment of content quiz for Knowledge, by teacher using a marking scheme

· summative assessment of portfolios for Knowledge, Communication, Inquiry, and Application, by self and teacher using a rubric

Accommodations

Since this activity involves reading aloud in role, some students may benefit from extra preparation time. Students may also find working with computers advantageous for the letter-writing components; a variety of artistic media might be considered for the illustration component of the final portfolio.

Resources

Taylor, Drew Hayden. The Boy in the Treehouse/Girl Who Loved Her Horses. Vancouver: Talonbooks, 2000. ISBN 0889224412

Taylor, Drew Hayden. “The Girl Who Loved Her Horses.” Jaine, Linda and Drew Hayden Taylor, eds. Voices: Being Native in Canada. Saskatoon: University of Saskatchewan, 1995.

Activity 3: Empowering through Writing

Time: 180 minutes

Description

This activity looks at poems that assert the importance of language to Aboriginal sovereignty and, in particular, the necessity of defining one’s own terms. Students respond to “Indian Woman” and “Threads of Old Memory,” by Jeannette C. Armstrong, and “The Devil’s Language”, by Marilyn Dumont, as vehicles to expand their knowledge of the language used by Aboriginal writers to express sovereignty and to apply this awareness of language in their own writing.

Strand(s) & Learning Expectations

Strand(s): Sovereignty, Writing

Overall Expectations

SOV.01 - describe the issues of identity and culture as they relate to sovereignty, as expressed in works by Aboriginal writers;

SOV.02 - describe how sovereignty is expressed in works by Aboriginal writers;

SOV.03 - demonstrate an understanding of the language used in Aboriginal works in connection with sovereignty issues;

SOV.04 - apply their knowledge of vocabulary and language conventions to read, write, and speak effectively while identifying, developing, or describing Aboriginal sovereignty;

WRV.02 - select and use appropriate writing forms for various purposes and audiences, focusing on reports, correspondence, and persuasive essays;

WRV.03 - use a variety of organizational structures and patterns to produce coherent and effective written work;

WRV.04 - revise their written work, independently and collaboratively, focusing on accuracy of information, clear expression, and consistent use of voice.

Specific Expectations

SO1.02 - assess the impact of Aboriginal sovereignty on Canadian society, as portrayed in the works of Aboriginal writers (e.g., Connie Fife, Taiaiake Alfred);

SO1.04 - describe the responses of Aboriginal writers (e.g., Maria Campbell, Drew Hayden Taylor, Lee Maracle) to barriers to Aboriginal sovereignty erected by Canadian society;

SO2.01 - express themselves clearly in a variety of spoken and written communications on the topic of Aboriginal sovereignty, using appropriate vocabulary and figurative language;

WR3.04 - use organizational patterns such as cause and effect, classification, and definition to present information and ideas in reports and short essays;

Prior Knowledge & Skills

Students’ prior knowledge of figurative language and skills in analysis of poetic forms and tropes will be used in this activity. Students also continue to develop their understanding of words’ connotative values, and the rhetorical, political, and emotional effects of language.

Planning Notes

Teachers should:

· pre-read poems to recognize the sensitive nature of the terms used and, in particular, to see how each poem asserts a powerful message of sovereignty through reclamation of the language of self-definition;

· review concepts and literary definitions of types of irony; prepare a lesson on irony;

· read Jeannette C. Armstrong’s paper “The Disempowerment of First North American Native Peoples and Empowerment Through Their Writing”, in An Anthology of Canadian Native Literature in English. This forceful declaration can inform the discussion of the poems, as well as provide examples of the powerful language of sovereignty in a distinct genre.

Teaching/Learning Strategies

1. Use the terms empowerment and disempowerment as introductory concepts for this activity. Have students express their understanding of these terms through reference to the two plays just studied or to other texts studied previously in the course.

2. Discuss with the class the idea of language as either neutral or value-laden, and meanings as either denotative or connotative. Have students 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. Have students discuss the possible implications of these connotative values to the topic of dis/empowerment. Supplement students’ ideas with ideas, issues, and examples drawn from Jeannette C. Armstrong’s essay “The Disempowerment of First North American Native Peoples and Empowerment Through Their Writing”. Consider the following activity. Reduce a selected portion of the essay to its most neutral terms (e.g., paragraph 5 becomes “ 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.”). Put it on the board and then copy the paragraph written by Armstrong beside it. Have students identify Armstrong’s vivid and provocative use of emphatic, value-laden, expressive terms to communicate her message more powerfully. Ask the class: 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?

4. Introduce Armstrong’s poem “Threads of Old Memory”. Have students read silently, reflecting upon the following topics in a journal entry: 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? Select four students or find four student volunteers to prepare an oral reading of the poem for next class, with each student taking ownership of one section.

5. 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”. Assign the task of constructing a poem of 10-12 lines, which uses Armstrong’s patterns as a very loose model.

6. Begin class with an oral reading of “Threads of Old Memory”, either by students or by the teacher.

7. Offer students the opportunity to read their own poetic compositions. Collect poems for assessment.

8. Review the concepts of denotation and connotation.

9. Introduce Armstrong’s poem “Indian Woman” by emphasizing that the emotional values of words can be either constructive/positive or negative/destructive. Prepare students for the fact that 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.

10. Read the poem aloud.

11. Students reflect individually upon the poem in journal entries. Consider providing the following topics: destructive words; powerful words; healing words. Or use the question: How does the poet reverse the negative, destructive stereotype with which her poem begins?

12. Remind students that they are examining the large issue of sovereignty in this unit, in a variety of genres. They have studied plays, are reading poetry, and will read informational, non-fiction texts as well. Stress that the particular focus is how language can be instrumental, either acting as a barrier or as a bridge to sovereignty. Each student practises the use of empowering language by adapting “Indian Woman” to another literary genre - in this case, to a dramatic scene.

The poem provides all (or a vast majority) of the dialogue of the student’s dramatic adaptation. The student’s task is to imagine and compose a scenario in which Armstrong’s language is brought to life, and given a spoken, physical power. The assignment allows the student to consider elements of dramatic construction studied in the prior activities, such as characterization, special effects, stage directions, conflicts, and imagery.

13. Review expectations of the “Indian Woman” dramatic adaptation. With students, create a rubric through which their efforts are evaluated. Criteria might include range and complexity of character development, use of multimedia or special effects, appropriate, distinctive or creative use of original text. Negotiate an appropriate timeline for completion of this assignment.

14. Introduce Marilyn Dumont, suggesting that 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.

15. Put the phrase the language of the devil on the board. Solicit student reaction to the possible meanings of the phrase. Address the issue of cultural perspective: Which traditions typically use the idea of “the devil?” What connotations does the word “devil” have?

16. Assign silent reading of Dumont’s poem, “The Devil’s Language”.

17. In their journals, students record the words and phrases from Dumont’s poem which seem to have particularly strong connotative values. Alternatively, have them record favourite lines, or most intriguing images and references.

18. 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.

19. In a class discussion, students clarify their impressions of Dumont’s message in stanza one. Gather the images of English; elicit associations of repression, rigidity, imposition, limitation, and presumed authority.

20. Turn the attention to stanza two. Have students 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.

21. Examine stanza three. Have the class consider how Dumont has managed to completely redefine the term of oppression - the devil’s language - into an image of a gentle, nurturing song.

22. Assign the following questions in order to allow a fuller expression of student responses to the poem: 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)?

23. Students complete these questions for discussion purposes or assessment next class.

Assessment & Evaluation of Student Achievement

· diagnostic and formative assessment of language analysis for Knowledge, by teacher using anecdotal comments and a rubric

· diagnostic and formative assessment of poetry compositions, oral readings, and adaptations for Knowledge, Communication, and Application, by teacher and peers using anecdotal comments and a rubric

Accommodations

Some tasks require reading aloud, which may require greater preparation time for some students. Adapting the poetry-writing task, through the creation of a template that provides the key elements of the desired poetic structure, may aid students with organizational challenges. Careful consultation with each student regarding timelines for the major tasks is an important aspect of facilitating opportunities for success.

Resources

Armstrong, Jeannette C. “The Disempowerment of First North American Native Peoples and Empowerment Through Their Writing”, “Indian Woman”, and “Threads of Old Memory”. Moses, Daniel David and Terry Goldie, eds. An Anthology of Canadian Native Literature in English, 2nd ed. Don Mills: Oxford University Press, 1998. ISBN 0195412826

Dumont, Marilyn. “The Devil’s Language”. In Moses, Daniel David and Terry Goldie, eds. An Anthology of Canadian Native Literature in English, 2nd ed. Don Mills: Oxford University Press, 1998.
ISBN 0195412826

Activity 4: Challenging the Obstacles

Time: 300 minutes

Description

This activity focuses on two dramatic poems, Pauline Johnson’s “The Cattle Thief” and Maria Campbell’s “Joseph’s Justice”, which demonstrate personal assertions of sovereignty in the face of obstacles. Student responses to these poems prepare them for the final activity of the unit, which integrates the diverse ideas and expressions of sovereignty previously studied.