Course Profile
English: Contemporary Aboriginal Voices, Grade 11, University
Preparation, Public
Unit 2: Relationships
Time: 25 hours
Activity 1 | Activity 2 | Activity 3 | Activity 4 | Activity 5
In this
unit, students identify images associated with an Aboriginal world view. They
are able to recognize the forms used to portray these world views, including
storytelling, music, video, and various literary genres. Students assess these
forms through class discussion and formal written and oral products. Students
analyse the relationships depicted by Aboriginal writers, with specific
reference to cultural, spiritual, and societal relationships: how they are
disrupted and how they are affirmed. Students compare their own experiences,
the various interpretations of a literary work, and differing media
perspectives of a current issue. They also create their own media work and
demonstrate an understanding of the relationship between form and purpose.
Finally, they research ways in which Aboriginal communities work to maintain
and restore relationships.
Strand(s): Relationships, Writing
Overall
Expectations
REV.01 -
demonstrate an understanding of the relationships depicted in fiction, drama,
poetry, and non-fiction by Aboriginal writers (with an emphasis on novels and
poetry);
REV.02 -
demonstrate an understanding of the ways in which Aboriginal writers depict
relationships to promote a vision of Aboriginal communities;
REV.03 -
demonstrate an understanding of form, purpose, audience, and production
techniques by designing or creating media works, independently and
collaboratively, based on the ideas, themes, and issues related to
relationships examined in this course;
REV.04 -
compare, through analysis, relationships presented in media works by Aboriginal
creators;
WRV.02 -
select and use appropriate writing forms for intended purposes and audiences,
focusing on essays, narratives, or poems.
Aboriginal
Voices in Literature
RE1.01 -
demonstrate an understanding of relationships portrayed in the works of
Aboriginal writers;
RE1.02 -
analyse changes that take place in Aboriginal relationships through interaction
with Canadian society, as portrayed in the works of Aboriginal writers;
RE1.03 -
compare their own ideas, values, and perspectives with those expressed or
implied in a text by an Aboriginal writer (e.g., by analysing the thoughts and
responses of a fictional character in a crisis and comparing these with their
own probable reactions; by debating two different interpretations of a literary
work using specific references to the text to support their arguments).
Language
RE2.01 -
demonstrate an understanding of how Aboriginal writers describe cultural and
spiritual relationships in their work;
RE2.02 -
demonstrate an understanding of relationships examined in this course through
classroom discussions and more formal activities that focus on relationships.
Aboriginal
Voices in Media Works
RE3.01 -
identify and assess forms of oral presentation that develop, maintain, and
affirm Aboriginal relationships;
RE3.02 -
analyse images of relationships reflecting an Aboriginal world view in the
works of Aboriginal creators;
RE3.03 - analyse and compare media works by
Aboriginal creators that critique Aboriginal relationships with Canadian
society;
RE3.05 -
compare various media perspectives on a current event involving an Aboriginal
community.
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 from primary and secondary sources;
WR1.02 -
organize and analyse information, ideas, and sources to suit specific forms and
purposes for writing;
WR1.03 -
formulate and refine a hypothesis, using information and ideas from prior
knowledge and research;
WR1.04 -
evaluate information and ideas to determine whether they are reliable, current,
sufficient, and relevant to the purpose and audience.
Choosing
the Form to Suit the Purpose and Audience
WR2.01 -
demonstrate an understanding of the uses and conventions of a variety of forms
by writing persuasive and literary essays, reviews, short narratives or poems,
and summaries;
WR2.02 -
select and use an appropriate form of writing to produce written work for an
intended audience and purpose;
WR2.03 -
analyse the characteristics of literary and informational texts as models of
writing for specific purposes and audiences;
WR2.04 -
select and use a level of language and a voice appropriate to the specific
purpose and intended audience for a piece of writing.
Organizing
Ideas and Information in Written Work
WR3.02 -
select and use appropriate organizational devices and patterns to structure
short stories, poems, and multimedia presentations.
Revising
Drafts
WR4.03 -
revise drafts to refine voice in written work.
Editing,
Proofreading, and Publishing
WR5.02 -
produce, format, and publish written work, using appropriate technology, to
share writing with intended audiences;
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 and in a consistent manner in writing;
-
communicate complex ideas using a variety of sentence structures;
- use
reflexive pronouns correctly;
- use
verb tenses appropriately and correctly;
- use
active and passive verb voice effectively to suit purpose and audience;
- use
parallel structures correctly and for rhetorical effect;
-
recognize and correct grammar and usage errors in their own and others’
writing;
- show an
understanding that grammar may be used unconventionally for a particular effect
in some forms of writing (e.g., in advertising, poetry, and for
characterization in fiction and drama).
Spelling
-
demonstrate an understanding of a wide range of spelling patterns, rules, and
strategies by recognizing and correcting their own and others’ spelling errors;
- spell
correctly specific historical, academic, and literary terms used in course
materials;
- use a
variety of print and electronic resources to flag possible errors and improve
spelling.
Punctuation
- use
punctuation correctly and thoughtfully to stress a word or words at the
beginning or end of a sentence, to signal shifts in tone and mood in narrative,
and to indicate levels of formality;
- use
commas around words in apposition;
-
introduce and punctuate long quotations correctly in the body of an essay.
|
Activity
1 |
Structuring
Relationships |
180
minutes |
|
Activity
2 |
Understanding
Relationship |
300
minutes |
|
Activity
3 |
Expressing
Relationships |
360
minutes |
|
Activity
4 |
Seeing
Relationships |
360
minutes |
|
Activity
5 |
Creating
Relationships |
300
minutes |
This unit
builds on 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 identified in the Grade 10, Aboriginal
Peoples in Canada course profile. Knowledge of local community concepts of
Aboriginal Relationships and how the Aboriginal community views itself should
be undertaken before attempting this unit.
Teachers should:
·
ensure
that resources listed are available in the classroom or the Library/Resource
Centre. If resources are not available then alternative materials should be
selected in conjunction with the school teacher-librarian, other teachers, or
information from the Internet;
·
review
An Anthology of Canadian Native
Literature which has been used as a primary resource to ensure easy access
to materials by Aboriginal writers; other local resources may be used to
supplement this anthology;
·
confirm
that Internet websites listed are currently active and available;
·
review
the unit to develop an understanding of the sequence of activities, assignments
needed, culminating activity requirements, issues addressed, and grammar,
usage, spelling, and punctuation conventions;
·
establish
a safe and collaborative environment in the classroom, achieved by researching
and becoming familiar with contemporary Aboriginal voices in literature and
media works prior to teaching the unit;
·
become
familiar with literature chosen to illustrate the theme and other relevant
material.
Time: 180 minutes
This activity focuses on relationships as
structured in Jordan Wheeler’s “A Mountain Legend”. Students examine elements
of a short story, such as character, setting, plot, and theme, and analyse the
story for narrative structures such as point-of-view. Students speak and write
to communicate effectively and appropriately.
Strand(s): Relationships, Writing
Overall
Expectations
REV.01 -
demonstrate an understanding of the relationships depicted in fiction, drama,
poetry, and non-fiction by Aboriginal writers (with an emphasis on novels and
poetry);
WRV.02 -
select and use appropriate writing forms for intended purposes and audiences,
focusing on essays, narratives, or poems.
Specific
Expectations
RE1.01 -
demonstrate an understanding of relationships portrayed in the works of
Aboriginal writers;
RE2.02 -
demonstrate an understanding of relationships examined in this course through
classroom discussions and more formal activities;
RE3.01 -
identify and assess forms of oral presentation that develop, maintain, and
affirm Aboriginal relationships;
RE3.02 -
analyse images of relationships reflecting an Aboriginal world view in the
works of Aboriginal creators;
WR1.02 -
organize and analyse information, ideas, and sources to suit specific forms and
purposes for writing;
WR2.01 -
demonstrate an understanding of the uses and conventions of a variety of forms
by writing persuasive and literary essays, reviews, short narratives or poems,
and summaries.
This
activity builds on students’ understanding of the theme of Identity. Students’
skills of literary analysis and note-making are employed.
Teachers
should:
·
read
“A Mountain Legend” by Jordan Wheeler, identifying elements of a short story
and preparing a list as teaching notes;
·
make
teaching notes on how Jordan Wheeler constructs his story around relationships
(for an Aboriginal perspective, see the Paula Gunn Allen essay “The Sacred
Hoop” in Resources);
·
prepare
a brief outline of the five activities of the Relationships unit.
1. After delivering a brief overview of the five
activities of Unit 2, deliver a lesson on the elements of a short story, using
a board outline.
2. Assign, as homework, “A Mountain Legend” to
be read before next class.
3. Write
the following on the board:
|
McNabb |
Ralph and Barry |
Muskawashee (meaning ‘strong wind’) |
|
Grandmother |
The mountain |
himself |
Lead a class discussion and collect responses orally concerning relationships and their significance to Jason’s experiences, in terms of his Aboriginal identity. Students take notes during class discussion.
4. Consider providing directed questions
reinforcing the earlier lesson on elements of the short story, by applying the
concepts to the structure of “A Mountain Legend.”
Assessment/evaluation
includes:
·
formative
assessment of class discussion for communication by the teacher using anecdotal
comments;
·
formal
assessment of note-taking for communication and application by teacher using
anecdotal comments.
Activities
have been designed with the university destination in mind. Students with
identified exceptionalities may require accommodations in order to meet the
overall and specific expectations, including pre-reading “A Mountain Legend”
and working with partners.
Wheeler,
Jordan. “A Mountain Legend” in Moses, Daniel David and Terry Goldie, eds. An Anthology of Native Canadian Literature,
2nd ed. Don Mills:
Time: 300 minutes
This activity focuses on
relationships within communities as illustrated in Emma Lee Warrior’s
“Compatriots.” Additionally, teachers may suggest a reading of Richard G.
Green’s “The Last Raven”. These short stories reflect Aboriginal world views as
expressed in spiritual and communal relationships. Students write a test on
elements of the short story, “A Mountain Legend”, and “Compatriots”.
Overall
Expectations
REV.02 -
demonstrate an understanding of the ways in which Aboriginal writers depict
relationships to promote a vision of Aboriginal communities;
WRV.02 -
select and use appropriate writing forms for intended purposes and audiences,
focusing on essays, narratives, or poems.
Specific
Expectations
RE1.01 -
demonstrate an understanding of relationships portrayed in the works of
Aboriginal writers;
RE1.02 -
analyse changes that take place in Aboriginal relationships through interaction
with Canadian society, as portrayed in the works of Aboriginal writers;
RE2.02 -
demonstrate an understanding of relationships examined in this course through
classroom discussions and more formal activities;
WR1.03 -
formulate and refine a hypothesis, using information and ideas from prior
knowledge and research;
WR2.02 - select and use an appropriate form of
writing to produce written work for an intended audience and purpose;
WR2.03 -
analyse the characteristics of literary and informational texts as models of
writing for specific purposes and audiences.
This
activity develops students’ understanding of values, theme, and community
inherent in Aboriginal world views, by utilizing their skills of literary
analysis and group work. Students continue to speak and write in order to
communicate effectively and appropriately.
·
To
better comprehend the non-hierarchical nature of relationships in Aboriginal
communities, literatures, and world views, teachers should consider reading
“The Native Perspective”, in the Voices Under
One Sky Teacher Guide, which suggests a circular graphic organizer. This
provides a helpful background to the teacher’s reading and preparation of Emma
Lee Warrior’s “Compatriots.”
·
Teacher
should construct appropriate questions on the story, which evoke responses on
the topics of short story structure, characters’ perspectives and communal and
personal values.
·
Teacher
considers the distinction between Wheeler’s neutral narrator in “A Mountain
Legend” and Emma Lee Warrior’s editorial narrator in “Compatriots.”
·
If
students choose to read “The Last Raven” by Richard G. Green, the teacher
should read the story, noting its significant values, relationships, and
distinct narrative perspective.
·
Prepare
a one-period test on elements of short story, “A Mountain Legend,” and
“Compatriots.”
1. Have a brief class discussion on
relationships, values, themes, and community. Assign individual reading of Emma
Lee Warrior’s “Compatriots”. By teacher-directed Socratic inquiry, draw on
student’s personal experiences and encourage them to articulate these
experiences.
2. Allow students to self-select groups. Each
group lists the various kinds of relationships in the story and categorizes the
nature/scope of these relationships (e.g., family, extended family, clan,
non-Natives).
3. Each group selects a recorder to put the
group’s observations on the board.
4. The observations provide the basis for class
discussion and student note-taking. Emphasize note-taking as an effective
method of recording information for a variety of purposes, such as organizing
ideas in early stages of the communication process. Demonstrate how to create
and use note-taking strategies.
5. Encourage students to read “The Last Raven”,
to experience alternative narrative point-of-view, short story structure,
relationships, and world views.
6. Remind students to prepare for upcoming
summative test on short story elements, “A Mountain Legend,” and “Compatriots.”
7. Administer a summative test, to be evaluated formally
using a marking scheme.
Assessment/evaluation includes:
·
diagnostic
assessment of group work and note-taking for communication and inquiry by
teacher using anecdotal comments;
·
formal
assessment of test responses for knowledge and communication by teacher using a
marking scheme.
All
activities have been designed with the expectations of a University Preparation
course in mind. Students with exceptionalities are accommodated through the provision
of optional, extended reading opportunities and careful guidance of group
selection.
Green,
Richard G. “The Last Raven” in An
Anthology of Canadian Native Literature, 2nd ed. Moses, Daniel David and Terry Goldie, eds. Don Mills:
Oxford University Press, 1998.
Time: 360 minutes
This
activity focuses on relationships as expressed in literature between a speaker
or a narrator and a listener/reader. Students learn about multiple audiences,
multi-layered narratives, and the translation of the oral voice into writing
through a close reading of three texts:
·
“I
lost my talk” by Rita Joe (Mi’kmaq)
·
“Captive
in an English Circus” by Harry Robinson (Okanagan) and Wendy Wickwire
·
“The
One About Coyote Going West”(see Unit 1, Activity 4) by Thomas King (Cherokee)
Overall
Expectations
REV.01 -
demonstrate an understanding of the relationships depicted in fiction, drama,
poetry, and non-fiction by Aboriginal writers;
WRV.02 -
select and use appropriate writing forms for intended purposes and audiences,
focusing on essays, narratives, or poems.
Specific
Expectations
RE 1.02 -
analyse changes that take place in Aboriginal relationships through interaction
with Canadian society, as portrayed in the works of Aboriginal writers.
WR1.04 -
evaluate information and ideas to determine whether they are reliable, current,
sufficient, and relevant to the purpose and audience;
WR2.04 -
select and use a level of language and a voice appropriate to the specific
purpose and intended audience for a piece of writing;
WR5.04 -
edit and proofread one’s own and others’ writing.
Students
should be familiar with generating ideas and getting information from text
materials. They should also be knowledgeable of the uses and conventions of
various types of writing and have experience with revising their own and other
students’ drafts.
Teachers should:
·
know
about Rita Joe’s biography including her experience at the
·
be
prepared to answer questions about the significance of Indigenous languages in
relation to literature written (mostly) in English (may include Basil
Johnston’s essay “One generation from extinction” – see Resources) and search
for short texts (poems) in the Moses/Goldie Anthology in which an Indigenous
language is used;
·
be
informed about the collaborative process of producing the book Write It On Your Heart, in which Harry
Robinson’s story was originally published (see Resources) and research the
topic of Aboriginal people becoming exhibits in Europe;
·
review
connections between Coyote and other so-called Tricksters in Aboriginal
cultures (see again Basil Johnston’s essay) and the importance of these
characters;
·
consider
Maria Campbell’s narrative “Joseph’s Justice” as an alternative to King’s story
for teaching about an oral and intentionally Aboriginal (Métis) voice. Like
Robinson’s story, it re-writes history.
1. Review major points of Activities 1 and 2
about elements of the short story and the theme of relationships in Aboriginal
literatures.
2. Start this particular activity with a
discussion of Rita Joe’s poem “I lost my talk” and get students to discuss the
conversation between the “I” and the “you” in the poem. What is their
relationship? Provide students with background information on residential
schools.
3. Break class into groups and ask them to
discuss a) the importance of orally passed on stories and information vs.
writing. How did/does this affect Aboriginal people? b) the role of Indigenous
languages. What do students know? Should literature be written in an Indigenous
language rather than in English? Encourage students to link Rita Joe’s points
in the poem to other Aboriginal literature they have read.
4. Provide introductory background on Harry
Robinson’s story and its oral-written mode of production.
5. Ask several students to do a joint
re-telling/reading of the story.
6. Discuss with the whole class how the oral
voice comes through in writing in this particular narrative. Thomas King, who
has been influenced by Harry Robinson, says about Robinson’s storytelling: “the
oral becomes the written becomes the oral.” How? Through which techniques and
devices? How does the storyteller establish his relationship with his
listener/reader? How does he establish the truthfulness of the story and how is
this related to the theme of lying so prominent in his tale?
7. Compare Harry Robinson’s “oral” narrative
with Thomas King’s framed story (already known from Unit 1). How does King’s
storyteller establish truthfulness and a relationship with the listener? What
may be the meaning of Coyote being both the listener of a story and a character
in it?
8. With the class, listen to a taped version (or
read aloud a print version) of the story “Nanabush and the Shut Eye Dance” (see
Resources), which King uses inter-textually.
9. Ask students how their knowledge of the
traditional story changes their understanding of King’s story. How would they
describe the “ideal” audience for King’s story?
10. Review forms of writing. Students choose one
of the following:
i How
is one’s “talk” related to one’s identity? A personal essay about the
importance of voice and the freedom to choose one’s voice.
ii Brief
essay responding to a newspaper article which does not portray accurately
Aboriginal people, cultures, or issues. The essay is written with the purpose
of educating a specified audience; the writer should avoid antagonizing or
alienating the readers. The essay should be presented in class for further
discussion.
iii Acting out a story in “rez English,” or in
English mixed with phrases from an Indigenous language, or in English modified
by the native language of an immigrant group, or a story in English with
colloquialisms. In each case, the story should demonstrate an awareness of a
listener/reader to be drawn into the storytelling process.
Assessment/evaluation
includes:
·
formative
assessment of class participation for communication by teacher using anecdotal
comments;
·
formal
assessment of written responses for communication and thinking/inquiry by
teacher using a marking scheme;
·
diagnostic
and formative assessment of written and oral presentations for knowledge and
communication by peer and teacher using anecdotal comments and a marking scheme;
·
formative
assessment of the written story for application by self, peers, and teachers
using a rubric.
In a
multi-cultural classroom this activity lends itself particularly well to
encourage all students, Aboriginal and non-Aboriginal, to the importance of
voice and audience in cross-cultural communication. Students with exceptional
needs may wish to demonstrate their knowledge/understanding through an oral
presentation instead of writing an essay or a story.
The
primary texts by Joe, Robinson and King, on which this activity is based, are
published in Moses, Daniel David and Terry Goldie, eds. An Anthology of Canadian Native Literature in English. Don Mills,
Additional
Texts
Beardy,
Joe,
Rita (with the assistance of Lynn Henry). Song
Of Rita Joe: Autobiography Of A Mi’kmaq Poet.
Johnston,
Basil. “One Generation from Extinction.” In An Anthology of Canadian Native Literature in English, 2nd ed. Daniel D. Moses and Terry
Goldie, eds. Don Mills:
pp. 99-104.
Knockwood,
Isabella. Out Of The Depths: The
Experience of Mi’kmaw Children at the Indian Residential School at
ISBN 0-9694180-6-X
Wickwire,
Wendy. “Introduction.” Write It On Your
Heart: The Epic World Of An Okanagan Storyteller. Compiled and Edited by
Wendy Wickwire.
ISBN 0-88922-273-8
Audiotape
Native Legends and Storytelling. Script and Research Director:
Sylvia O’Meara. Glooscap Communication Group Ottawa, Ontario (sponsored by the
Department of Indian and Northern Affairs).
Time: 360 minutes
This
activity is divided into four subtasks, each of which works to develop
students’ awareness and appreciation of sensory (especially visual) images in
both literature and media texts. Beginning with a close analysis of “Blue
Against White”, a short story rich in imagery, students research a variety of
visual media depictions of Aboriginal relationships, cultures, and conflicts.
Through a teacher-modelled Book Talk, students begin the selection of a novel
for Independent Study and also demonstrate their learning by applying visual
images to literature.
Overall
Expectations
REV.03 -
demonstrate an understanding of form, purpose, audience, and production
techniques by designing or creating media works, independently and
collaboratively, based on the ideas, themes, and issues related to
relationships examined in this course;
REV.04 -
compare, through analysis, relationships presented in media works by Aboriginal
creators.
Specific
Expectations
RE1.01 -
demonstrate an understanding of relationships portrayed in the works of
Aboriginal writers;
RE3.01 -
identify and assess forms of oral presentation that develop, maintain, and
affirm Aboriginal relationships;
RE3.03 -
analyse and compare media works by Aboriginal creators that critique Aboriginal
relationships with Canadian society;
RE3.05 -
compare various media perspectives on a current event involving an Aboriginal
community;
WR3.02 -
select and use appropriate organizational devices and patterns to structure
short stories, poems, and multimedia presentations.
This
activity builds on students’ understanding of the concepts of Aboriginal
relationships, voices, and storytelling. The elements of image, symbol,
conflict, narrative structures, recurring figures, and stereotypes form the
literary basis of the activity.
·
Subtask
1: Read “Blue Against White”, by Jeannette C. Armstrong, for examples of
sensory images, with particular attention to examples of visual imagery, and
prepare a list as teaching notes. Review prior lessons for definitions of
imagery, and for lessons on paragraph structure, to ensure continuity.
·
Subtask
2: Reserve the Library/Resource Centre/computer lab time, with aid of
teacher-librarian or other appropriate colleagues. Preview and prepare a list
of appropriate websites and available hard-copy resources.
·
Subtask
3: Collect and preview available novels appropriate for the Independent Study
unit. Consider book jacket images and design elements for these novels, as part
of the introduction of the texts to students.
·
Subtask
4: Review elements of good presentations and clearly understand the evaluation
process for both teacher and peer rubrics.
This
activity engages students in a critical reading and discussion of Jeanette C.
Armstrong’s short story, “Blue Against White”. This examination of a text rich
in imagery allows students to continue the development of their understanding
of literary uses of sensory images and also to prepare for their own
investigations of imagery in other media for use in subsequent tasks.
1. Lead whole-class discussion of the concepts
of imagery (concrete) and symbolism (abstract), as reviewed for homework, based
on notes from Units 1 and 2.
2. Introduce “Blue Against White,” by Jeannette
C. Armstrong. The teacher may choose to provide a brief introduction of
Armstrong, emphasizing that her university degree is in Fine Arts and that she
has worked as both a visual artist and an author. The dual focus of this
reading is the depiction of relationships and Armstrong’s use of imagery.
3. As the story is extremely brief, students may
benefit from the opportunity for multiple readings. The teacher may choose to
have the story read silently first, asking students to be aware of the specific
relationships within the story.
4. After students have read the story once, have
the class identify all of the relationships identified within the text. Record
these on the board.
5. Read “Blue Against White” aloud to the class,
instructing students to look for all examples of concrete, sensory images. Some
teachers may choose to have students record these in notebooks or to have
students orally identify imagery as the story is being read..
6. Discuss the connection between words and
images and between images and ideas. Ask students to consider and respond to
the connection between the story’s relationships, identified earlier and
recorded on the board, and the imagery employed by Armstrong. Do any of these
images reflect a particular relationship or reveal something about the nature
of the relationship? Do any of the images convey a specific attitude, opinion,
or point-of-view?
7. Provide students with a series of questions
about “Blue Against White”. Accommodations should be taken into consideration
where appropriate. Students may need to review paragraph structure; this work
may be done in-class and for homework, and can be evaluated by a marking scheme
for content (knowledge of text and literary elements) and for structure
(application of writing expectations and paragraph conventions).
8. For homework, students use the images in the
text to suggest alternate titles for Armstrong’s story. Considerations should
include visual clarity, and applicability to the story’s themes and
relationships. Students contribute and defend their suggestions orally to begin
next class.
Students
build on their previous discussions of imagery and of representations of
Aboriginal world views. The class links its observations of the visual content
of “Blue Against White” to an examination of the visual content in a range of
media constructs. Students construct a comparative analytical record of their
research and select one image to be used in the final subtask.
1. Initiate an oral review of previous lesson,
using student contributions on the topic: Which specific images, other than the
blue door, could serve as effective titles for Armstrong’s story?
2. Introduce the sequence of subtasks for the
remainder of Activity 4: library/computer/Internet research of visual images
with Aboriginal content; a teacher-led Book Talk introducing the novel options
for the Independent Study (Unit 5 Culminating Activity); student role-play
presentation of a book jacket design, based upon their research in media images
and their study of visual imagery in literature.
3. Explain
the chart construction to be used in organizing the research conducted today.
Students are to use library resources, plus any resources available outside of
class, to compile a reference list of visual images and media constructs
(pictorial, photographic, computer-generated, etc.) with Aboriginal content
(reflecting Aboriginal communities, concerns, issues, relationships, icons, and
traditions). The chart should allow students to record (i) a brief description
of the image; (ii) an exact source reference; (iii) a point-form explanation of
each image’s context (is there text “accompaniment” type of news article?
magazine type? likely demographic? identifiable purpose or bias?; (iv)
aesthetic comparison and personal commentary; (v) suggested connections to
literary works studied in the course so far.
4. Students proceed to the Library/Resource
Centre/computer lab for research. The teacher and teacher-librarian prepare a
variety of resources (media texts, art books, newspapers, websites, etc.) and
reserve time for a least one full class. Students should be urged to use the
chart to record and organize their compilation of images.
5. Remind students to select one image to use
for a book jacket presentation. Considerations include content of the image
itself, application to a course literary text selected by the student, student
-selected role for the presentation (one of graphic artist, advertising
executive, book publisher, or story author).
In this
class, the teacher introduces students to the novel choices for their
Independent Study, which leads to Unit 5, the Culminating Activity for the
course. The teacher briefly discusses salient features of the available texts,
which have been researched in advance. Students record this introductory
information and then peruse the texts, noting elements of both content and
packaging, as they make initial determinations regarding personally appropriate
text selections.
1. Lead a discussion on the maxim: Don’t judge a
book by its cover. Have students work toward the issues of appearance v.
reality, substance v. style, truth in advertising, using images to convey
meaning. Ask students, with respect to the maxim, if they follow this advice in
daily experience.
2. Connect the topic and students’ contributions
to their own work selecting appropriate images and alternative titles (labels,
brand names) for “Blue Against White”. Briefly discuss the creative process of
naming and selecting the right “package” for any “product” and how these skills
might be applicable to the business of marketing literature.
3. Present students with the Independent Study
novel choices. Use the book jacket as a starting point, noting the use or lack
of visual imagery, the title, and other physical, verbal, or aesthetic elements
to open brief synopsis of each novel’s content, genre, historical, regional, or
cultural contexts. In doing so, the teacher models effective presentation
techniques and suggests certain considerations and points-of-view for the
students’ role-play task to come.
4. Students are expected to take notes on these
text choices for later reference, as their particular novel choices don’t need
to be made immediately.
5. Once the teacher Book Talk has been
completed, students should have the opportunity to look at the books on their
own and to consider which texts meet their personal needs, interests, and
reading levels.
6. Students compose journal entries in which
they reflect upon either of the two most recent tasks: (i) images they’ve
researched, including reflections upon image content, image context, personal
aesthetic preferences, communication of personal and Aboriginal world views and
relationships; (ii) Book Talk, including reflections upon the relationship
between books and covers, art and business, as well as reflections upon
personal reading styles, preferences, and course goals.
In this role-play activity, students
present their design of the book jacket, linking one of the visual images
researched earlier to one of the course literary texts previously studied. This
performance demonstrates students’ understanding of the relationships between
images and ideas, between product and presentation, and between story and the
expression of a world view.
1. Provide
each student with three copies of a simple checklist, covering the
communications skills criteria for a role-play oral presentation. The teacher
then randomly assigns each student three presentations to evaluate using these
checklists. This peer evaluation is recorded in combination with the teacher’s formal
evaluation, based upon a more detailed rubric.
2. Students have previously selected a specific
role to play: one of graphic artist, advertising executive, book publisher, or
story author. The scene is a business meeting, where a specific jacket design
(as created by the student) is being “pitched”. The student has up to five
minutes to either make the pitch (if the role is as artist or ad exec) or to
critique the design (if the student has chosen the role as either publisher or
author). Student presenters have been made aware of the expectations in terms
of the required content: discussion of the image/design/type or font content
and intended effects; defence or critique of the relationship to the literary
test; and clear demonstration of awareness of audience (target market).
3. As each presentation is completed, the
student performer rejoins the class and contributes as peer evaluator.
4. When all presentations have been completed
and evaluated, the teacher may choose to offer a final overview of impressions,
congratulations, and concerns, providing a summative lesson which emphasizes
the strong ties between word, image, story, and perspective – the expressions
of multi-faceted and diverse Aboriginal world views.
Subtask
1: Knowledge/Communication
·
Anecdotal
assessment through class discussion; teacher assesses the students’
recognition, identification, and interpretation of imagery and function with
“Blue Against White”.
·
Marking
Scheme assessment through students’ written responses; structured paragraph
answers to directed, teacher-constructed questions of literary analysis.
Subtask
2: Thinking-Inquiry/Communication/Application
·
Formative
assessment using the students’ chart constructions, looking for thorough and
diverse collections of media images reflective of Aboriginal experiences;
thoughtful analyses of the context, purpose, audience, and message of each
collected image; adept comparisons of the these images for aesthetic
considerations, authenticity, application to literary texts; and selection of
one image deemed by the student to be most appropriate to a specific text from
the course.
Subtask
3: Knowledge/Thinking-Inquiry/Communication
·
Anecdotal
assessment of student note-making based upon the Independent Study novels Book
Talk, as well as observation of the students’ careful, engaged, and purposeful
hands-on examination of the physical tests provided.
·
Formative
assessment of the students’ journal responses reflecting on one of either
Subtask 2 or 3.
Subtask
4: Knowledge/Thinking-Inquiry/Communication/Application
·
Formal
Evaluation using rubric, of each student’s oral presentations in a role-play
dramatization, “pitching” or critiquing the merits/shortcomings of the
student’s created book jacket for one of the literary texts studied on the
course to this point.
All activities and subtasks have
been designed with the university destination in mind. However, students with
identified exceptionalities may require certain accommodations in order to have
the opportunity to meet the overall and specific expectations for each
activity. These accommodations may include the chance to pre-read “Blue Against
White” before class discussion, the selection of a reduced number of paragraph
responses, working with a partner during the research of media images and the
subsequent chart construction, or having text choices for the Independent Study
which are deemed appropriate for a given student’s exceptionality.
Armstong,
Jeannette C. “Blue Against White”. In An
Anthology of Canadian Native Literature in English, 2nd ed. Daniel David Moses and Terry Goldie, eds. Don Mills:
pp. 236-239.
Time: 300 minutes
This
culminating activity attempts to bring together the many ideas and approaches
to the overall theme of Relationships developed throughout Unit 2. After a
brief review of short story elements, students proceed through the writing
process to produce a teaching story, which expresses some aspect of an
Aboriginal world view. Following this written performance, students demonstrate
their learning about oracy through telling stories aloud.
Overall
Expectations
REV.01 -
demonstrate an understanding of the relationships depicted in fiction, drama,
poetry, and non-fiction by Aboriginal writers (with an emphasis on novels and
poetry);
REV.02 -
demonstrate an understanding of the ways in which Aboriginal writers depict
relationships to promote a vision of Aboriginal communities;
REV.03 -
demonstrate an understanding of form, purpose, audience, and production
techniques by designing or creating media works, independently and
collaboratively, based on the ideas, themes, and issues related to
relationships examined in this course;
REV.04 -
compare, through analysis, relationships presented in media works by Aboriginal
creators.
Specific
Expectations
RE1.03 -
compare their own ideas, values, and perspectives with those expressed or
implied in a text by an Aboriginal writer.
WR4.03 -
revise drafts to refine voice in written work;
WR5.02 -
produce, format, and publish written work, using appropriate technology, to
share writing with intended audiences.
This activity builds on students’
knowledge of narrative structure and variations within conventional story
structure. Students also use their understanding of the conventions of standard
English grammar and mechanics and of deviations from the conventions for
specific, desired effects. The culminating activity also makes use of students’
knowledge of traditional/mythical/stock/iconic figures in Native Literatures
(e.g., Coyote, Raven). Students also review and develop understanding of the
writing process and oral storytelling techniques.
·
Subtask
1: Teacher should review the significant and appropriate elements of short
story structure, with particular emphasis on teaching stories. If the teacher
is creating a brief formal quiz, this should be completed in advance of the
oral, in-class review.
·
Subtask
2: Teacher should consider specific expectations and criteria appropriate for
this culminating activity. Decide whether a pre-written rubric will be
distributed to the class, or whether the teacher will create a rubric built
with student contributions. A simple editor’s checklist should be prepared.
This checklist should draw attention to the technical requirements, the content
expectations, and the aesthetic elements of this writing task.
·
Subtask
3: Teacher decides whether the storytelling will be evaluated. If the answer is
yes, then the assessment tool will need to be shared with the students. If the
answer is no, then the only planning required will be around order of
performance, and possibly the provision of in-class practice time.
In this
first subtask, the teacher leads the class in a brief oral review of the
elements of short narratives, which is immediately followed by a content quiz,
to be taken up orally upon completion. This process takes advantage of prior
learning from this unit and prepares students for the construction of their own
short narratives.
1. Lead a whole-class discussion of the elements
of short stories, especially teaching stories, eliciting contributions from the
class.
2. Students write a content quiz on the short story
elements. The elements of particular importance to this unit and this activity
should comprise most of the quiz (e.g., point-of-view/voice, conflict, climax,
moral/resolution, teaching story characteristics).
3. The quiz may be collected as part of the
formal evaluation or marked collectively on the spot, as informal
self-evaluation and a formative assessment in preparation for the writing task
to follow.
During
these classes, each student plans and composes a short story to demonstrate an
understanding of the material from this unit. Through informal teacher/student
conferencing, peer editing, and revision, students work through stages of the
writing process to completion of a finished product - a short teaching story.
1. Provide the class with a rubric describing
the finished product – a short teaching story that provides insight through its
moral into an Aboriginal world view. The teacher may choose to use the quiz just
completed to guide the class in the construction of its own rubric for the
teaching story.
2. The class proceeds with the writer’s workshop
approach. The teacher engages each student in conference, while all students
work through planning stages.
3. When a student has completed a rough draft,
the teacher provides a checklist. Each student chooses one classmate who uses
the checklist as an editor’s guide.
4. Each student finishes the short story,
submitting the final product to the teacher for formal evaluation. Students
should be instructed to retain a copy of their tale to be used in preparation
for the storytelling to follow.
Each
student shares the short teaching story with the class through storytelling. This
activity builds on prior learning from Units 1 and 2. This performance can be
evaluated formally by teacher and peers, informally through anecdotal
commentary, or simply enjoyed without an evaluative component.
1. Each student has an opportunity to demonstrate
storytelling skills, using the tale each has just finished composing. Introduce
this final unit component by reminding the whole class of the areas of emphasis
in Unit 2 - short story elements, relationships within stories and within
communities, the development of personal and narrative voices, and the
awareness of audience. A particular emphasis on the storyteller/audience
relationship might serve as an appropriate focus for this introduction.
2. As each story is told, be especially
cognizant (as teacher and as peers) of the Aboriginal world view being
expressed, the point-of-view or narrative voice established, and the short
story devices (e.g., imagery) being effectively used. Encourage the
recognition, appreciation, and evaluation of these test ingredients, and
encourage appreciation of the qualities of the storytelling performance itself.
Subtask
l: Knowledge
·
Formative
assessment through class discussion, and formal evaluation through a
teacher-designed content quiz.
Subtask 2:
(i) Thinking-Inquiry/Communication - Formative assessment through anecdotal commentary in teacher-student conferencing during the pre-writing process.
(ii) Thinking-Inquiry/Communication/Application - Formative assessment using editor’s checklist and peer conferencing, during the editing and revision stages of the writing process.
(iii) Knowledge/Thinking-Inquiry/Communication/Application - Formal evaluation of the written teaching story by teacher, using a rubric co-designed with students. The emphasis of the evaluation is on the use of the mechanics of standard English, the development of voice, the application of knowledge of short story elements, and the expression of an Aboriginal world view.
Subtask
3: Knowledge/Think-Inquiry/Communication/Application
·
Anecdotal
assessment of student storytelling skills. Optionally, a formal evaluation by
teacher and peers, using a rubric with criteria reflective of students’
learning of storytelling techniques.
All tasks
and expectations in this culminating activity are designed with the university
destination in mind. Accommodations may include the provision of additional
time for the composition of the short story, use of Special Education/Resource
teachers for editing and revision sessions, or having the finished story told
in small groups, or taped, as an alternative to whole-class, large-group
performance.
1. How is
2. What different associations does
3. Which image is used to express
4. What does
5. What had her dream from the week before been
about?
6. How does
7. Who are the coyotes hanging around in the
cities these days?
8. Where had both the dirt road and the hard
freeway led her?
1. There are several examples in this story of
paradox. Cite and explain one of these paradoxes.
2. Do the milkweed fluff seeds provide a positive
or a negative image of
3.
4. Armstrong has
5. How are
6. Explain
7. Using cues and clues from the story, explain
in literal terms what you think
8. Armstrong uses the image of a long, arduous
journey throughout “Blue Against White”. With this in mind, does the final
image of the blue door, which “stood out against the white”, suggest that
|
Image |
Source |
Context |
Observations |
Literary Text |
|
Davis
Inlet |
www.theglobleandmail.com
(02.12.2000) |
front
page article on gas sniffing kids |
-
student-generated reactions |
- student-generated
connections to course literature |
|
1. |
Effective
Book Jacket Design |
1 |
2 |
3 |
4 |
5 |
|
2. |
Effective
Presentation Skills (volume, pacing, eye contact) |
1 |
2 |
3 |
4 |
5 |
|
3. |
Communication
of Content (clear, organized, accurate) |
1 |
2 |
3 |
4 |
5 |
|
4. |
Maintenance
of Character (convincing and consistent) |
1 |
2 |
3 |
4 |
5 |
Unit 2 -
Activity 4 - Subtask 4.2
Sample Rubric Template for Teacher Evaluation of Role-play Presentation
(descriptors
to be constructed with student input)
|
Achievement Criteria |
Level l (50–59% |
Level 2 (60–69%) |
Level 3 (70–79%) |
Level 4 (80–100%) |
|
Knowledge - use
of appropriate literary terms -
understanding of chosen literary text |
|
|
|
|
|
Thinking/Inquiry -
awareness of role, audience, and purpose -
investigation of appropriate agenda and perspective |
|
|
|
|
|
Communication -
volume, pacing, eye contact, and engagement -
organization -
maintenance of role |
|
|
|
|
|
Application -
integration of unit and activity themes -
demonstration of understanding of media construction issues |
|
|
|
|
Note: A student whose achievement is below level 1
(50%) has not met the expectations for this assignment or activity.
Unit 2 -
Activity 5 - Subtask 2
Sample Rubric (descriptors to be constructed with student input)
|
Achievement Criteria |
Level l (50–59%) |
Level 2 (60–69%) |
Level 3 (70–79%) |
Level 4 (80–100%) |
|
Knowledge - use
of appropriate short story elements - use
of teaching story characteristics |
|
|
|
|
|
Thinking/Inquiry -
awareness of audience and purpose -
development of appropriate narrative voice(s) -
consideration of Aboriginal world view |
|
|
|
|
|
Communication - use
of appropriate language conventions -
organization -
clarity of expression of point-of-view |
|
|
|
|
|
Application -
integration of unit and activity themes (relationships, conflict, resolution,
community, imagery, and presentation) |
|
|
|
|
Note: A student whose achievement is below level 1
(50%) has not met the expectations for this assignment or activity.