Course Profile
Expressing Aboriginal Cultures, Grade 9 open, Public
Unit 2: Visual Arts
Activity 1 | Activity 2
| Activity 3 | Activity 4 | Activity 5 | Activity 6
Unit Developer(s)
Gloria Thomas, Grand-Erie District School Board
Rocky Landon, Limestone District School Board
Gerry Winger, Niagara District School Board
Development Date: July 1999
In this unit students examine and learn to distinguish between the artistic styles found in Canadian Aboriginal painting, photography, and multi-media presentations. Students interpret the meanings of these art forms in the context of the cultural group and create art that speaks to issues of personal and contemporary significance. Students complete four of the six activities that are listed and are expected to complete Activities 1, 2, and 3. The fourth activity may be 4, 5, or 6.
Strand(s): Identity, Relationships, Sovereignty, Challenges
Overall Expectations: GLV.08, GLV.09, GLV.10, GLV.11, REV.01, REV.02, REV.03, SOV.02, SOV.03, CHV.02, CHV.03, CHV.04.
Specific Expectations: GL1.01, GL1.02, GL1.03, GL1.04, GL1.05, GL1.06, GL1.07, GL1.08, GL2.01, GL2.02, GL2.03, GL2.05, GL3.02, GL3.03, GL3.05, RE1.01, RE1.02, RE1.03, RE1.04, RE2.03, RE3.02, RE3.03, RE3.04, RE3.06, SO1.01, SO1.03, SO1.05, SO1.08, CH1.02, CH1.03, CH1.04, CH2.01, CH1.04, CH3.02.
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Activity 1 |
Aboriginal Art of Canada (required) |
75 minutes |
|
Activity 2 |
Pictographic Art (required) |
75 minutes |
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Activity 3 |
Eastern Woodland Art (required) |
525 minutes |
|
Activity 4 |
West Coast Art (optional) |
525 minutes |
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Activity 5 |
Plains Art (optional) |
525 minutes |
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Activity 6 |
Inuit Art (optional) |
525 minutes |
· The activities that follow are case studies of Aboriginal Art. Refer to Berlo & Phillips, 1998; McLuhan. & Hill; and Southcott, 1984 for background information.
· Current visual representations of Aboriginal art are manifestations of the need to commercialize the Aboriginal perspective (Hill, 1984).
· Early planning and acquisition of quality slides and/or reproductions are suggested as they form a critical aspect of lesson quality and impact. Visual resources can include reproductions from a variety of sources, (e.g., art postcards, fine art calendars, textbooks, overheads, CD-ROMs, selected web sites on the Internet).
· As there are many activities found in this unit, it is impossible to address the subject matter in its entirety. Teachers are therefore encouraged to complete Activities 1, 2, and 3 plus one other activity. One could make that selection based on available resources, a teacher’s interest or experience with the subject matter, or the students’ interests.
· Obtain a range of materials necessary for art production and secure a set of slides that highlight a range of Aboriginal art styles (e.g., Eastern Woodland, Northwest, Plains, Inuit). Find a list of web sites relating to Aboriginal art styles in Canada. Note that web site addresses often become non-functional and they need to be updated before being used in class.
· Make contacts with local Aboriginal artists and resource people prior to course delivery. Check with local commercial organizations (e.g., craft and gift stores, art galleries, factories involved in the production of art forms, or print shops) as there may be possible links to developing an understanding of the art industry. Later in their high school career, students may want to pursue co-op educational opportunities in these same organizations.
· If course delivery is conceptualized as a collaborative venture the unit is more meaningful and interesting for students. Take time to go over the general aims and sequence of the unit with students and pre-plan classroom visits and other interactions.
· Assessment and evaluation must be clear, thorough, and ongoing. To accommodate the needs of Special Education and ESL/ESD students, student demonstration of achievement for an expectation may be different from others in the class and they may require different opportunities to demonstrate their achievement. For example, adapt and adjust the curriculum to meet the individual needs of all exceptional and identified students.
Collaborative work skills are expected as many tasks involve students working in small or large group settings. Student experiences in elementary arts and language programs assist them in achieving the expectations of this unit. Skills relating to artistic production in the Grades 7 and 8 Ontario Art Curriculum will be expected in several activities in this unit.
Brainstorming, whole group instruction and class discussion, small group and independent learning, response sheets, modelling of appropriate attitudes and skills, guest speakers, demonstrations, field trips, written responses and reports, computer-assisted research, co-operative learning strategies, and guided imagery may be used to deliver this unit.
Use a wide range of diagnostic, formative, and summative assessment tools, such as checklists, rubrics, and tests to monitor student development in the following student products: response journals, art portfolios, anecdotal reports, peer and self- assessments, oral presentations and group/individual performances.
Time: 75 minutes
In this activity students are introduced to a range of artistic responses to issues that relate to Aboriginal peoples. Students are expected to use knowledge of story forms and content gained in Unit 1 to gain further understanding of the symbols used in the art forms.
Strand(s): Identity and Relationships
Overall Expectations:
· demonstrate understanding of how Aboriginal art forms reflect cultural identity;
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms.
Specific Expectations:
· identify characteristics of art forms (e.g., totem poles, storytelling, songs) from various Aboriginal groups in Canada;
· identify symbols found in the traditional and contemporary art forms of specific Aboriginal groups;
· explain how symbols represent specific Aboriginal cultures;
· explain how natural environments affect the development of Aboriginal art forms (e.g., Inuit soapstone carving);
· describe the role of art forms in relation to the environment in specific Aboriginal cultures.
· Prepare slides for slide presentation. Create a narrative script for a teacher-directed discussion. Gather necessary art production materials (e.g., greeting cards with Aboriginal designs, books with art imagery, posters).
· Use information acquired from Unit 1.
· Collaborative skills
· Independent work habits
· Effective analytical and interpretation skills
· Comprehension of multi-level content
· Active listening skills
· Questioning skills
1. Provide an overview of “Art Imagery” by using a set of 20 slides that feature Eastern Woodland, Northwest, Plains, and Inuit cultures. As one presents the slides, reference the image to symbols and imagery highlighted in Unit 1. Provide some background related to the maker of the image. Discuss and highlight how an artist's background may influence the production of imagery. As one proceeds through the imagery, make the connection between image and story.
Have students select an image from the slides presented or from poster prints. In small groups, have students discuss how different artists responded to the seasons. Some suggestions for resource imagery: "Rebirth" by Jackson Beardy, "Drum Beat of the Earth" and "Approach of Autumn" by Maxine Noel, "Wild Rice Gathering" by Wayne Yerxa, "Raising the Net" by Don Ningewance, "Wintering Buffalo" by David Williams, "Geese Going South" by Leo Nielson and "Restless" by Rick Beaver.
As an alternative, students, in pairs or individually, may select a slide and write a story based on it. Have students share their stories with the class.
· Use verbal feedback to clarify ideas relating to understanding the relationship between imagery production and the respective natural environment;
· Use an observation checklist to monitor the group discussion related to identification of symbols used by particular cultural groups and identification of the characteristics of some of the art imagery;
· Develop a rubric to evaluate the presentation of a group’s discussion related to how natural environment influences the production of the art form.
· Provide adequate time for all students.
· Provide individual explanations of what is expected, with examples, and get feedback from the student.
· Divide tasks within a group of students according to strengths and abilities.
· Provide frequent monitoring, feedback and reinforcement.
· Make adjustments in expectations regarding quality and quantity of output.
· Allow taped or oral presentations.
Barbeau, M. Art of the Totem. Surrey, BC: Hancock House, 1984.
Berlo, J.C. and R.B. Phillips. Native North American Art. Oxford, NY: Oxford University Press, 1998.
Ekoomiak, N. Arctic Memories. Toronto, ON; NC Press, 1988.
Hill, T., and R.W. Hill, (eds). Creation’s Journey: Native American Identity and Beliefs. Washington, DC: Smithsonian Institution Press, 1994.
Hill, T. and E. McLuhan. Norval Morrisseau and the Emergence of the Image Makers. Toronto, ON: Art Gallery of Ontario, 1984.
Houle, R, D. Nemiroff, and C. Townsend-Gault. Land, Spirit, Power: First Nations at the National Gallery of Canada. Ottawa, ON: National Gallery of Canada, 1992.
Kinsman-Robinson, D.L. Norval Morrisseau: Travels to the House of Invention. Toronto, ON: Key Porter Press, 1997.
McMaster, G. and L.A. Martin. Indigena:Contemporary Native Perspectives. Hull, PQ: Canadian Museum of Civilization, 1992.
Ryan, Allan. The Trickster's Shift. Toronto, ON: University of Toronto Press, 1999.
Sinclair, L. and J. Pollock. The Art of Norval Morrisseau. Toronto, ON: Methuen, 1979.
Smithsonian Institution. All Roads Are Good: The National Museum of the American Indian. Washington, DC: Smithsonian Institution, 1994.
Southcott, E. The Sound of the Drum. Erin, ON: Boston Mills Press, 1984.
Stewart, H. Looking at Indian Art of the Northwest Coast. Vancouver, BC: Douglas and McIntyre, 1979.
Vanderburgh, R.M. and M.E. Southcott. A Paintbrush in My Hand: Daphne Odjig. Toronto, ON: Natural Heritage/Natural History, 1992.
Woodland Indian Cultural Centre. Godi’nigoha: The Women’s Mind. Brantford, ON: Woodland Indian Cultural Centre, 1997.
Time: 75 minutes
In this activity students examine the meanings of symbols found in pictographs/petroglyphs and in wampum belts. Students, in referencing previous learning, have an opportunity to view and appreciate the craftsmanship and skill required to make the images. Students can develop interpretations related to collections or groupings of symbols.
Strand(s): Identity and Relationships
Overall Expectations:
· demonstrate understanding of how Aboriginal art forms reflect cultural identity;
· demonstrate understanding of traditional Aboriginal forms of expression and their influence on the portrayal of Aboriginal identity in contemporary art forms ;
· identify how specific Aboriginal art forms reflect aspects of the society that produced them.
Specific Expectations:
· describe the specific characteristics that define cultural identity (e.g., types of housing, language);
· identify characteristics of art forms (e.g., totem poles, storytelling, songs) from various Aboriginal groups in Canada; explain how symbols represent specific Aboriginal cultures;
· identify the strategies and processes used to create traditional Aboriginal art forms;
· demonstrate understanding of the skills used to create traditional Aboriginal art forms;
· explain what Aboriginal artists or artisans might have been trying to express through their work.
· Review the works of Barreiro & Corneilius (1991), Conway (990), Dewdney & Kidd (1962), Dewdney (1975), Porter (1993), Rajnovich (1994), and Tehanetorens (1976);
· Obtain appropriate video materials in order to show the video Teaching Rocks (Ministry of Natural Resources, 1986) or “Hands of History” (Todd, 1994);
· Plan a field trip as part of developing teamwork skills which are required in the last unit on "Celebrating Our Accomplishments." Ensure that students follow proper policies and procedures when planning the field trip;
· If one plans to go to an archaeological/pictographic/petroglyph site or cultural centre, discuss proper protocol and behaviour with students.
· Understanding of content from Unit 1
· Interpretation and application of meaning of symbols
· Collaborative work skills
· Effective brainstorming skills
2. Have students retell the story "Where Stories Come From" (Clark, 1960).
Discuss with students various artifacts that carry stories (e.g., wampum belts, winter counts, totem poles, birch bark scrolls, pictographs, and petroglyphs). Identify and list the symbols that stand out as a result of student exploration with storytelling and artifacts (e.g., symbols related to animals and elements of creation).
Show the video Teaching Rocks (Ministry of Natural Resources Production, 1986) or Hands of History (Todd, 1994).
Have students answer the following questions (given on a handout): What are the important themes of the video? Who is featured in the video? What issues are featured? What are the reasons for producing the video? Why were these themes selected?
In their journals, have students write about one image that stands out in their mind. What feelings does it cause? What questions does it ask? How does the imagery from the video reflect Ojibway culture? Use reflective writing to note the emotions they experienced.
As an alternative and extension, have students plan a field trip. What needs to be done in order for it to happen? Encourage students to take responsibility for planning the trip. When will the bus leave? How will lunch be done? What behaviour rules should be followed? Set a time for coming back. Ask what can be done during the field trip? Set an agenda. Assign tasks (e.g., letters to parents and teachers). Co-ordinate and set up the trip.
a) Have students complete a response sheet activity related to the field trip. For example, have students record on a note pad three images that appealed to them. b) At the same time, discuss the benefits of the artist's note pad to help remember details and shapes.
Have students gather any resources that aid in the image interpretation (e.g., asking questions of the curators, art cards, bibliographical notes).
During the field trip, ensure that all students have the opportunity to participate by engaging the tour guide in discussion or visiting images.
After the field trip have students retell their observations to their small group.
Have students re-present one of their three images in a context that tells a story.
· Use verbal feedback to clarify ideas related to understanding what artists may be trying to express through their work.
· Use an observation checklist to monitor group discussion on strategies used by Aboriginal peoples to make the images and the characteristics of particular art forms, in particular Aboriginal cultures.
· Use a checklist to monitor student responses to a video question sheet related to understanding the characteristics of various art forms portrayed in the video.
· Provide written lists, reminders of content discussed.
· Provide frequent monitoring, feedback, and reinforcement.
· Provide copies of notes and/or questions or have another student make a copy with NCR (carbonless) paper.
· Encourage the use of a computer for completing written work.
Barreiro J., and C. Cornelius, (eds). Knowledge of the Elders: The Iroquois Condolence Cane Tradition. Ithaca, NY: Cornell University, 1991.
Conway, T. and J. Conway. Spirits on Stone: The Agawa Pictographs. San Luis Obispo, CA: Heritage Discoveries, 1990.
Dewdney, S. The Sacred Scrolls of the Southern Ojibway. Toronto, ON: University of Toronto Press, 1975.
Dewdney, S. and K. Kidd. Indian Rock Paintings of the Great Lakes. Toronto, ON: University of Toronto Press, 1962.
Hill, B. Guide to Indian Rock Carvings of the Pacific Northwest Coast. Surrey, BC: Hancock House, 1975.
Jones, T.E.H. The Aboriginal Rock Paintings of the Churchill River. Saskatoon, SK: Saskatchewan Museum of Natural History, #4, 1981.
Molyneux, B. The Study of Prehistoric Sacred Places. Toronto, ON: Royal Ontario Museum, 1983.
Porter, T. Clanology. Akwesasne, NY: North American Indian Travelling College, 1993.
Rajnovich, G. Reading Rock Art. Toronto, ON: Natural Heritage/Natural History 1994.
Reberson Center for the Arts and Science. Art of the Seventh Generation-Iroquois Symbols on Canvas and Paper. Binghamton, NY: Reberson Center for the Arts and Science, 1986.
Tehanetorens. Wampum Belts. Rooseveltown, NY: Akwesasne Notes, 1976.
Trevelyvan, Amy. "Continuity of Form and Function in the Art of the Eastern Woodlands." In The Journal of Canadian Native Studies, V. IX, N. 2 (1989): 187-203.
Vastokas, J. "Native Art as a History." Journal of Canadian Studies, V. 21 (winter, 86/87) 7-36.
Vastokas, J. & R. The Sacred Art of the Algonkians: A Study of the Peterborough Petroglyphs. Peterborough, ON: Mansard Press, 1973.
The Teaching Rocks. Bancroft, ON: Ministry of Natural Resources, 1986, 32 min.
Todd, L. Hands of History. Ottawa. ON: National Film Board, 1994, 52 min.
Time: 525 minutes
In this set of activities, students will have an opportunity to develop an understanding of some artistic visual representations from the Eastern Woodland tradition (which is geographically represented by the provinces of Ontario and Quebec, the Maritimes, and Upper New York State). Students use their knowledge of storytelling, symbols, and the cultural beliefs of Woodland nations to provide interpretations related to visual imagery.
Strand(s): Identity, Relationships, Sovereignty, Challenges
Overall Expectations:
· demonstrate understanding of how Aboriginal art forms reflect cultural identity;
· demonstrate understanding of traditional Aboriginal forms of expression and their influence on the portrayal of Aboriginal identity in contemporary art forms;
· identify different interpretations of sovereignty exemplified in various art forms;
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms;
· identify how specific Aboriginal art forms reflect aspects of the society that produced them;
· identify how new and evolving art forms reclaim, revive, and sustain Aboriginal cultures.
Specific Expectations:
· identify characteristics of art forms (e.g., totem poles, storytelling, songs) from various Aboriginal groups in Canada;
· identify symbols found in the traditional and contemporary art forms of specific Aboriginal groups;
· demonstrate understanding of the skills used to create traditional Aboriginal art forms;
· produce art forms that demonstrate understanding of the art form characteristics of a specific Aboriginal culture;
· describe how contemporary Aboriginal art forms relate to traditional Aboriginal art forms;
· describe how their art forms demonstrate the relationships of Aboriginal peoples to themselves, their families, their communities (including gender roles), their nations, Canada, and the natural environment;
· explain what Aboriginal artists or artisans might have been trying to express through their work;
· demonstrate understanding of the meaning of art forms in specific Aboriginal cultures (e.g., a case study of a visual artist or the meaning of West Coast symbols);
· explain how traditional forms of expression influence modern designs in Aboriginal art forms; explain how Aboriginal art forms communicate the philosophy and political and cultural values of Aboriginal peoples;
· explain how stereotypical messages are expressed in art forms;
· describe the skills and processes that selected artists use to create their art forms;
· produce Aboriginal-style art forms that reflect solutions to contemporary issues of Aboriginal peoples;
· produce Aboriginal-style art forms that use a multimedia approach to portray personal identity.
· Create a slide overview of the imagery.
· Read Amy Trevelyvan’s article, "Continuity of Form and Function in the Art of the Eastern Woodlands." (in The Journal of Canadian Native Studies, V. IX, N. 2 (1989): 187-203).
· Read and review in the Glossary, definitions of terms: X-ray art, Manitoulin art, Minimalist art, Realist art, Landscape art, Post-modern art.
· Ensure access to paint and paper, and slide projector.
· Symbolic content of Unit 1
· Basic paintbrush skills
· Ability to blend colour
3. As a beginning lesson for the activity, show slides of three different images (e.g., images of Norval Morrisseau, Roy Thomas, Carl Ray). Ask students to make individual lists of features, such as colour, images shown, use of lines, use of repeated shapes. Provide five minutes for each slide. Have students move into groups. Ask students to determine the common elements among the three images (e.g., form line, animal shapes, use of colour, and theme). Engage students with clarification statements on reasons why artists may paint in different ways (e.g., world-view perceptions, family backgrounds).
Revisit stories which feature the characteristics and symbols found among the Eastern Woodlands people. Have students listen to several stories from the Woodlands (e.g., a Glooscap/Koluscap story, Cree Windigo story, a story of the Food Spirits, and a Montagnais story). Ask students to make a list of important animals and symbols. Provide clarification by offering students a list of basic shapes (e.g., hand prints, circles and spirals, thunderbird, turtle, clan symbols, symbols of sovereignty and unity, tree of peace). Refer to Rajnovich (1994). Use a chalkboard or overhead to show these symbols.
Use four slides (one each of Morrisseau, Angeconeb, Debassige, and Simon) and with students in groups, identify the changes in form, style, and theme. Share with students how Morrisseau and Ray taught at a school on Manitoulin Island, which became instrumental in starting a new wave of Aboriginal painters on Manitoulin Island. Have students record in their notebooks, a list of characteristics found in X-ray and Manitoulin art styles.
Show two slides from the works of Jackson Beardy and James Simon. Ask students to produce an image, using the form of X-ray art or Manitoulin art which could be used to tell a trickster story.
When students have completed X-ray and Manitoulin art images, they place them in their art portfolios. Show three images (one each of Benjamin Chee Chee, Hugh McKenzie, Don Ningewance) and ask students to consider whether these three images are Aboriginal art. Engage students in a discussion of what they consider to be features and elements of Aboriginal art.
Introduce students to the concepts of Minimalist, Realist, and Landscape art. Show three other slides (one each of Doris Cyrette, Bill Powless, Arthur Shilling) and ask students to determine the materials needed to create the images, and outline the strengths of each of the images. Clarify with students. Explain how Realist artists address stereotypical messages expressed in art forms.
Using props or images from books, assign students the task of completing a series of sketches showing the important aspects of the object. Students are limited to ink or pencil or two colours of paint.
When students have finished their images, show them images from Norman Knott and Jackson Beardy. Have students consider whether these two artists fit the criteria of being identified as Minimalist artists? Encourage the students to support their positions.
Present four slides featuring the images of Daphne Odjig and Cecil Youngfox. Have student groups conduct research, using the world wide web or library resources, and write a report that provides a statement of Odjig’s and Youngfox’s contribution and status within the field of Eastern Woodland art.
Show the video “Hands of History.” Discuss with students the central issues of the video. Ask students to identify possible ways of creating art works that represent issues, concerns, and challenges of the future for all youth. As students complete this exercise, discuss and clarify with them the challenges for youth.
Show slides that feature the imagery of Shelley Nero, Rebecca Belmore, Carl Beam, and Ron Nonganosh. Have students identify and discuss the themes presented in these images. How do they differ from other imagery they have seen? Work with students to create a list of characteristics that may be shared among these artists. Share with students that these images are highly politicized and can often feature puns and sarcasm in the themes presented.
Have students work in groups to produce a multimedia art form, or photographic enhancement, or installation piece that either addresses their personal identity or provides an image that promotes dialogue to facilitate healing.
Using the chalkboard and jigsaw method, have students record the characteristics of X-ray art, Manitoulin art, Minimalism, and realistic/landscape imagery, images beyond the limits, and post-modern innovations.
Have a member from each group record one key point for each of the styles. As a large group, have students comment individually about why artists created different styles and focussed on different themes. Discuss why some artistic styles seemed to focus on certain themes. Outline the factors for students to record in their notebooks.
· Use verbal feedback to clarify ideas related to: identifying the characteristics of art forms in various cultures; promoting art forms as way of maintaining the values, traditions, and beliefs of a cultural group; understanding what artists may have been trying to express through their work; including how they address stereotypical messages and understanding how traditional forms of expression may influence modern designs.
· Use an observation checklist to monitor group discussion related to: identifying symbols found in traditional and contemporary art forms and discussing how these art forms are related to each other.
· Use a checklist to monitor individual student comments related to understanding how Aboriginal artists create their art forms and how selected Aboriginal artists represent particular cultural groups.
· Develop a rubric to evaluate each image from the students. Give consideration to the student’s ability to produce sketches of symbols and images used in traditional art forms.
· Develop a rubric for evaluating how students use a multimedia approach as a basis for illustrating a relationship to a natural environment.
· Use a rubric to evaluate students on their ability to provide a solution to a contemporary issue of Aboriginal people.
· Use a rubric to assess a student’s written narrative relating to understanding the challenges facing Aboriginal people.
· Various independent and group activities
· Choice of subject matter related to individual interests
· One-to-one instruction will be available.
· Use a visual organizer/outline to which to refer.
· Incorporate several senses in presentations. Supplement language input with pictures, diagrams, etc. and vice versa; use videos, CD-ROMs, drama, movement, music, and “hands on” experiences.
· Provide explicit step-by-step instructions in a checklist format, with timelines for completion, to assist the student in organizing work.
· Provide frequent monitoring, feedback and reinforcement.
· Provide opportunities for students to work in pairs.
Berlo, J.C. and R.B. Phillips. Native North American Art. Oxford, NY: Oxford University Press, 1998.
Hill, T. and K. Duffek. Beyond History. Vancouver, BC: Vancouver Art Gallery, 1989.
Hill, T. and E. McLuhan. Norval Morrisseau and the Emergence of the Imagemakers. Toronto, ON: The Art Gallery of Ontario, 1984.
Hodgins, K. The Art of the Nehiyawak: Exploring the Arts and Crafts of the Woods Cree. Regina, SK: Plains Publishing, 1988.
Hughes, Kenneth. The Life and Art of Jackson Beardy. Halifax, NS: Canadian Dimension/James Lorimer, 1979.
Johnston, B. The Bearwalker and Other Stories. Toronto, ON: Royal Ontario Museum, 1995.
Madill, S.J.R., (ed.). Jackson Beardy: A Life's Work. Winnipeg, MB: Winnipeg Art Gallery, 1993.
McLuhan, E. Altered Egos: The Multimedia Works of Carl Beam. Thunder Bay, ON: Thunder Bay National Exhibition Centre and Centre for Indian Art, 1984.
McLuhan, E. Renegade: The Art of Leo Yerxa. Thunder Bay ON: Thunder Bay, National Exhibition Centre and Centre for Indian Art, 1984.
Ojibwe Cultural Foundation. Anishnabe Mee-Kun: Art by Anishnabe Artists of the Manitoulin Island Area. Manitoulin Island, ON: Ojibwe Cultural Foundation, n.d.
Podedworny, C. Debosegai. Thunder Bay, ON: Thunder Bay Art Gallery, 1985.
Podedworny, C. The New Traditionalists. Thunder Bay, ON: Thunder Bay Art Gallery, 1988.
Podedworny, C. Woodlands: Contemporary Art of the Anishnabe. Thunder Bay, ON: Thunder Bay Art Gallery, 1989.
Podedworny, C. “Revisiting the Woodland School: Art, History, Politics, the Woodland Legacy, and Jackson Beardy,” in S.J.R. Madill (ed.) Jackson Beardy: A Life's Work. Winnipeg, MB: Winnipeg Art Gallery, 1993.
Ryan, A.J. The Trickster Shift: Humour and Irony in Contemporary Native Art. Toronto, ON: University of Toronto Press, 1999.
Thomas, Jacob E. Wampum Belts. Ohsweken, ON: Jake Thomas Institute, 1990.
Thunder Bay Art Gallery. Benjamin Chee Chee. Thunder Bay, ON: Thunder Bay Art Gallery, 1991.
Thunder Bay Art Gallery. Cedar and Sweetgrass: Works from the Permanent Collection. Thunder Bay, ON: Thunder Bay Art Gallery, 1991.
Thunder Bay Art Gallery. Mizinatik: The Painting Stick. Thunder Bay, ON: Thunder Bay Art Gallery, 1991.
Thunder Bay Art Gallery. Muzinihbeegey. Thunder Bay, ON: Thunder Bay Art Gallery, 1990.
Thunder Bay Art Gallery. Michael Robinson: The Spirit and The Smoke. Thunder Bay, ON: Thunder Bay Art Gallery, 1985.
Zuk, W.M. and D.L. Bergland. Art First Nations: Tradition and Innovation. Montreal, PQ: Art Image Productions, Inc., 1996.
An Art Exhibit/A Rock Band, 7th Fire. Oakville, ON: Magic Lantern Communications, Ltd., 1994.
Beauty of My People: The Art of Arthur Shilling. Ottawa, ON: National Film Board, 30 min.
Dreams, Myths and Memories. Toronto, ON: TVO Productions, 1985, 16 min.
Martin, C.A. Kwa'nu'te: Micmac and Maliseet Artists. Ottawa, ON: National Film Board, 1991, 41 min.
Spirit Speaking Through: Canadian Woodland Artists. Toronto, ON: CBC Educational Sales, 1981.
Todd, L. Hands of History. Ottawa, ON: National Film Board, 1994, 52 min.
The Great Peace: The Gathering of Good Minds. Brantford, ON: Working World, 1998.
Time: 525 minutes
In this activity students examine the works of Northwest Coast artists (British Columbia). Students are expected to identify important animal motifs/clan symbols and discuss how they are depicted through art imageries of West Coast people.
Strand(s): Identity, Relationships, Challenges
Overall Expectations:
· describe the elements of culture reflected in various art forms;
· demonstrate understanding of how Aboriginal art forms reflect cultural identity;
· produce Aboriginal art forms that portray Aboriginal culture;
· demonstrate understanding of traditional Aboriginal forms of expression and their influence on the portrayal of Aboriginal identity in contemporary art forms;
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms;
· produce art forms that demonstrate Aboriginal relationships;
· identify how new and evolving art forms reclaim, revive, and sustain Aboriginal cultures.
Specific
Expectations:
· identify characteristics of art forms (e.g., totem poles, storytelling, songs) from various Aboriginal groups in Canada;
· explain the creation of Aboriginal art forms as a way of maintaining the values, traditions and beliefs of particular communities;
· identify symbols found in the traditional and contemporary art forms of specific Aboriginal groups;
· explain how symbols represent specific Aboriginal cultures;
· produce art forms that demonstrate understanding of the art form characteristics of a specific Aboriginal culture;
· interpret the meaning of Aboriginal art forms in the context of tradition, contemporary art, and today’s society;
· describe how contemporary Aboriginal art forms relate to traditional Aboriginal art forms;
· identify materials (e.g., tobacco, sage, deer hide) that demonstrate specific relationships among Aboriginal peoples and their environments, including people;
· demonstrate understanding of the meaning of art forms in specific Aboriginal cultures (e.g., a case study of a visual artist or the meaning of West Coast symbols);
· explain how traditional forms of expression influence modern designs in Aboriginal art forms
· describe images that represent various Aboriginal cultures.
· Become familiar with the excellent overview presented by Berlo & Phillips (1998). As well, reference to works by Bill Holm (1990) and Hilary Stewart (1979) are highly recommended. Stewart (1979) provides an excellent breakdown of styles/forms that may be utilized in developing lessons. Teachers may want to collect art cards that present West Coast styles and use them as models or images to teach. You may want to focus on two or three artists of contrasting styles.
· Provide a slide overview (12 slides) of the images that the activity will be addressing.
· Ensure access to paint and paper, and slide projector.
· Understanding of Unit 1
· Application of cultural themes in a cross cultural context
· Ability to use create and use stencils
· Collaborative work skills
· Awareness of safety issues related to the use of carving tools
4. Introduce concepts related to storytelling among the West Coast peoples. Have students read several stories from the west coast (e.g., in anthologies "Indian Tales of the Northwest" (Mason, 1976); "Kahtahah" (Paul, 1976); "Tsimsyan Myths Illustrated" (Barbeau, 1961).
Ask students to identify main characters found in several of the stories (e.g., Raven, Whale, Frog, Bear, Dog Fish, Salmon) and cultural themes that recur in West Coast stories.
In small groups, analyse and discuss how the animals of the west coast reflect important personal characteristics.
Introduce a series of basic shapes (e.g., U-forms – split and whole, ovoids – inner and outer, form line, S-form). Refer to pages 18-24, Stewart (1979). Use a chalkboard or overhead to show shapes. A possible variation is to make a photocopy of an art card image and with a dark, bold line, outline the basic shapes in the context of the art image. Do this for each of the features.
Introduce anatomical features (e.g., body, eyes, nose, ears, eyebrows, tongue, arms, legs, hands, feet, claws, bird feathers, tails and wings).
In small groups, have students find, using black and white imagery, basic anatomical forms using other slides and images. Students will create a collage displaying an understanding of basic shapes used in West Coast art. Students will use basic colours of red and black with animal imagery related to a particular cultural group.
Introduce variations to style (e.g., split figures, transformation figures, and designs fitted to given shapes). Place several images on the overhead and point out symbols. Have students identify and list the features of the imagery in their notebooks.
Show images from each of the following groups and explain their connections to history and lifestyle: Coast Salish, Nootka, Kawgiutl, Ksan, Haida, and Tlingit. Set up a station approach. Students rotate from station to station and make observations on differences in the works presented. Focus in upon the artist's use of line, colour, split shapes, positioning, and imagery. Have students present their results to the class. Students select an animal symbol of the west coast and use it as the centre piece of their work. They are to modify the image, or background to reflect a stylization or modernization of the form. Various colours may be used.
Identify, select, and present images of artists who are using basic elements but alter the imagery (e.g., Roy Henry Vickers, William (Bill) Herbert Helin, Francis Dick, Sue Coleman, Joe Wilson). Examine how basic elements of Northwest cultures still serve as a veil to artists' work. See Appendix C: Language for Art Criticism for a list of questions that can guide students as they view artistic imagery.
In small groups, challenge students to outline possible reasons for artists to alter or vary the artistic imagery. Assign artists and cultural groups to particular student groups (based on availability of research and biographical information).
Examine the works of Lawrence Paul Yuxweluptun (see Ryan, 1999). How are these different from traditional styles of imagery? In what ways does Yuxweluptun combine traditional lines and form and yet create a difference in presentation? Identify and discuss the themes presented through the images of Yuxweluptun. Using several biographical pieces/articles, determine why Yuxweluptun does the kind of art that he does.
Using imagery from a west coast art form, students are to create an image or compositional series of images that demonstrate a concern for the importance of salmon and land to the West Coast peoples.
· Use verbal feedback to clarify ideas related to: identifying the characteristics of art forms in various cultures; promoting art forms as way of maintaining the values, traditions, and beliefs of a cultural group; and understanding what artists may have been trying to express through their work;
· Use an observation checklist to monitor group discussion related to: identifying symbols found in traditional and contemporary art forms; how these art forms are related to modern designs; and exploring the meaning found in traditional and contemporary images;
· Use a checklist to monitor individual student comments related to understanding how Aboriginal artists create their art forms and how selected Aboriginal artists represent particular cultural groups;
· Develop a rubric to evaluate each image from students. Give consideration to the students’ ability to reproduce images used in traditional art forms; evaluate students’ ability to modernize a context using traditional west coast imagery; and evaluate students on the basis of presenting an image that illustrates a concern for issues affecting the West Coast people.
· Provide templates for students having difficulty with cutting.
· Use a visual organizer/outline to which to refer.
· Incorporate the use of several senses in presentations (e.g., use videos, CD-ROMs, drama, movement, music, and hands-on experiences). Supplement language input with pictures, diagrams, etc. and vice versa.
· Talk through visual materials and encourage students to verbalize what they see, drawing their attention to critical details.
· Pair students appropriately for reading activities; have them take turns reading or if necessary, have a better reader read to or make a tape of reading material, while the weaker reader follows along (or provide teacher-made or commercial tapes).
· Provide individual explanations of what is expected, with examples, and get feedback from the student.
· Prior to beginning the reading assignment, provide or develop with the student a list of key questions to attempt to answer from the reading material.
· Make adjustments in expectations regarding quality and quantity of output.
Berlo, J.C. and R.B. Phillips Native North American Art. Oxford, NY: Oxford University Press, 1998.
Bringhurst, R. The Black Canoe: Bill Reid and the Spirit of Haida Gwaii. Seattle, WA: University of Washington Press, 1991.
Holm, B. Northwest Coast Art: An Analysis of Form. Seattle, WA: University of Washington Press, 1967.
Ryan, A.J. The Trickster Shift: Humour and Irony in Contemporary Native Art. Toronto, ON: University of Toronto Press, 1999.
Shadbolt, D. Bill Reid. Vancouver, BC: Douglas & McIntyre, 1986.
Stewart, H. Robert Davidson: Haida Printmaker. Seattle, WA: University of Washington Press, 1979.
Stewart, H. Looking at Indian Art of the Northwest Coast. Vancouver, BC: Douglas & McIntyre, 1979.
Vickers, R. Solstice: The art of Roy Henry Vickers. Tofino, BC: Eagle Dancer Productions, 1988.
Zuk, W.M. and D.L. Bergland. Art First Nations: Tradition and Innovation. Montreal, PQ: Art Image Productions, Inc., 1996.
Bill Reid. Ottawa, ON: National Film Board, 1979, 27 min.
Claxton, D. Yuxweluptun: Man of Masks. Ottawa, ON: National Film Board, 1998, 21 min.
Geddes, C. Picturing a People George Johnston, Tlingit Photographer. Ottawa, ON: National Film Board, 1997, 50 min.
Henry, A. Totem Talk. Ottawa, ON: National Film Board, 1998, 22 min.
Return to Eagle Rock: The Art of Roy Henry Vickers. Ottawa, ON: National Film Board, 1995, 35 min.
The Shadow and the Spirit. Toronto, ON: CBC Educational Sales.
Time: 525 minutes
In this activity, students explore the Plains art forms which reflect the environmental and social factors prevalent in the community comprising the Cree, Metis, Blackfoot, and Chipewyan. Students are expected to differentiate between artifact/traditional and post-modern forms. Students are expected to produce a multimedia collage that reflects their understanding of themes and cultural issues specific to Plains peoples.
Strand(s): Identity, Relationships, Sovereignty, Challenges
Overall Expectations:
· demonstrate understanding of how Aboriginal art forms reflect cultural identity;
· demonstrate understanding of traditional Aboriginal forms of expression and their influence on the portrayal of Aboriginal identity in contemporary art forms;
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms;
· identify how specific Aboriginal art forms reflect aspects of the society that produced them;
· produce art forms that demonstrate Aboriginal relationships;
· identify different interpretations of sovereignty exemplified in various art forms;
· demonstrate understanding of issues related to the production of Aboriginal art forms;
· identify how new and evolving art forms reclaim, revive, and sustain Aboriginal cultures.
Specific Expectations:
· identify characteristics of art forms (e.g., totem poles, storytelling, songs) from various Aboriginal groups in Canada;
· explain the creation of Aboriginal art forms as a way of maintaining the values, traditions and beliefs of particular communities;
· identify symbols found in the traditional and contemporary art forms of specific Aboriginal groups;
· explain how symbols represent specific Aboriginal cultures;
· produce sketches of symbols and images used in traditional art forms;
· identify various reasons for the creation of Aboriginal art (e.g., functional, moral/spiritual, social/political, decorative/aesthetic);
· describe how their art forms demonstrate the relationships of Aboriginal peoples to themselves, their families, their communities (including gender roles), their nations, Canada, and the natural environment;
· explain what Aboriginal artists or artisans might have been trying to express through their work;
· demonstrate understanding of the meaning of art forms in specific Aboriginal cultures (e.g., a case study of a visual artist or the meaning of West Coast symbols);
· explain how traditional forms of expression influence modern designs in Aboriginal art forms;
· describe how art forms represent customs, world views, traditions, beliefs, and sovereignty;
· identify Aboriginal art forms that promote sovereignty;
· demonstrate understanding of the importance of women in Aboriginal cultures;
· describe the skills and processes that selected artists use to create their art forms;
· describe images that represent various Aboriginal cultures.
· In this activity, refer to chapter four of Berlo & Phillips (1998), the Plains Module in Zuk & Bergland (1996: 1), and Ryan (1999). See also the imagery related to works of Allen Sapp, Gerald Tailfeathers, Alex Janvier, Jane Ash-Poitras, Bob Boyer, Joane Cardinal-Schubert, George Littlechild, Gerald McMaster, and Edward Poitras.
· Be familiar with the use of winter counts as an artifact and, as well, be on the lookout for art cards of Plains artists. Materials such as newspapers and magazines with native content should be collected as resources for the multi-media assignment. Most Plains imagery shows an element of Plains peoples’ lifestyle.
· Provide a 10-12 slide overview of imagery to be studied in class.
· Tell students that the Sioux and other Plains cultures did not have a word for "years." They kept track of time by winters. Each year a council of tribal leaders chose the most important event of that year. The keeper of the winter count used pictographs to represent the event.
· Ensure access to paint and paper, and slide projector.
· Collaborative work habits
· Understanding of content of Unit 1
· Use a variety of painting and gluing skills
5. Have students read several stories from the Plains peoples (e.g., in anthologies, "Plains Indian Mythology" (Marriott & Rachlin, 1975); "Sacred Stories of the Sweetgrass Cree" (Bloomfield, 1993); "Assiniboine Legends" (Nighttraveller & Desnomie, 1978).
Have students identify main characters and representations of Plains world view found in several of the stories (e.g., coyote, bear, fox, buffalo, deer, crow, eagle, drum, medicine wheel, horse).
In small groups, have students identify and list the significant personality characteristics and archetypal meaning of each animal and symbol.
Have the students recall important events that have occurred in their lives. Select one important event per year and illustrate them using pictographic designs. The students can transfer their designs to a class 'winter count' which can be made on a large sheet of brown paper with edges torn to look like an animal hide.
Examine an image of a winter count. In small groups, have students identify common or repeated images. Identify images that stand by themselves. Have students interpret various copies of winter counts.
In a large group, ask students to generate an overview of the lifestyle of Plains peoples based on the information provided on the winter counts.
Present an image from the collection of Sarrain Stump, titled "Pain of the Indian" (poster sized image found in Art First Nations, Zuk & Bergland). Have students identify the emotions that are displayed within Stump's work. In a large group, have students outline the possible reasons for the display of emotions. How was the artist able to create the emotion? How did he use colour, line, and positioning?
Have students discuss the similarities and differences between the two images in terms of: a) materials used to produce them; b) themes of the images; c) emotional connections; and d) methods and techniques used to create the image.
Identify, select, and present images of artists who present themes related to the Plains culture (e.g., Maxine Noel, David Williams, Sarrain Stump, Allen Sapp, and Alex Janvier). In groups, discuss and contrast the variations to style by comparing artistic presentations by artists such as Clemence Wescoupe, Maxine Noel and David Williams; Allen Sapp and Sarrain Stump; and Alex Janvier and Joane Cardinal Schubert.
Have students make a list of differences among the images and identify two similarities.
Students list suggestions of why the artists paint differently (e.g., family backgrounds, schooling influences, political climates, age of the artist, community perspectives on acceptable art).
Provide an overview of works by Ash-Poitras, Boyer, Cardinal-Schubert, Littlechild, McMaster, and Poitras. Assign one of the noted artists to a particular group. In small groups, have students individually find particular pieces of information regarding their artist (e.g., what materials are used by the artist; reasons for the selection of certain materials; how the materials are used by the artist), describe the biographical background of the artist, outline the characteristics of the community that the artist is from, and identify the kinds of messages presented by the artist.
As a small group, have students outline possible reasons for the artist doing the art that she/he does and answer the question: How does each artist address the issue of sovereignty in his/her imagery
Have students report back to the larger group in the form of a formal presentation with the results of their investigation.
Discuss with students whether the imagery created by the post-modern Plains artists contributes to the dialogue of healing within Aboriginal communities.
Have students use a multimedia approach to combine four material elements to create a composition that highlight the changes that women have and are undergoing in Canadian society.
· Use an observation checklist to monitor group discussion related to: understanding the characteristics of art forms in various cultures; discussing specific art forms as a way of maintaining the values, traditions, and beliefs of a cultural group; and understanding what artists may been trying to express through their work.
· Develop a rubric to assess students’ products which demonstrate an understanding of symbols found in traditional and contemporary art forms; and show an understanding of how these art forms are related to modern designs; and exploring the meaning found in traditional and contemporary images.
· Use a checklist to monitor individual student comments related to understanding how Aboriginal artists create their art forms; how selected Aboriginal artists represent particular cultural groups; which art forms promote sovereignty.
· Develop a rubric to evaluate a student-generated, multi-media image that addresses the challenges that women are undergoing.
· Incorporate the use of several senses in presentations (e.g., use videos, CD-ROMs, drama, movement, music and hands-on experiences). Supplement language input with pictures, diagrams, etc. and vice versa.
· Review essential background knowledge, concepts, and vocabulary.
· Talk through visual materials and encourage the student to verbalize what they see, drawing their attention to critical details.
· Pair students appropriately for reading activities; have them take turns reading or, if necessary, have a better reader read to them or make a tape of reading material, while the weaker reader follows along (or provide teacher-made or commercial tapes).
· Provide individual explanations of what is expected, with examples, and get feedback from the student.
· Divide tasks within a group of students according to strengths and abilities.
· Provide frequent monitoring, feedback, and reinforcement.
Berlo, J.C. and R.B. Phillips. Native North American Art. Oxford, NY: Oxford University Press, 1998.
Bringhurst, R., G. James, R. Keziere, and D. Shadbolt, (eds.). Visions: Contemporary Art in Canada. Vancouver, BC: Douglas & McIntyre, 1983.
Clark, J. Who Discovered the Americas: Recent work by Jane Ash Poitras. Thunder Bay, ON: Thunder Bay Art Gallery, 1986.
Dempsey, H. Tailfeathers, Indian Artist. Calgary, AB: Glenbow Museum, 1970.
Houle, R. and L.A. Martin. The Art of Alex Janvier: His First Thirty Years, 1960-1990. Thunder Bay, ON: Thunder Bay Art Gallery, 1993.
McMaster, G. and L.A. Martin. Indigena: Contemporary Native Perspectives. Toronto, ON: Douglas & McIntyre, 1992.
Podedworny, C. The New Traditionalists. Thunder Bay, ON: Thunder Bay Art Gallery, 1988.
Ryan, A.J. The Trickster Shift: Humour and Irony in Contemporary Native Art. Toronto, ON: University of Toronto Press, 1999.
Thunder Bay Art Gallery. The New Traditionalists. Thunder Bay, ON: Thunder Bay Art Gallery, 1989.
Thunder Bay Art Gallery. Stardusters. Thunder Bay, ON: Thunder Bay Art Gallery, 1986.
Thunder Bay Art Gallery. Tailfeathers/Sapp/Janvier. Thunder Bay, ON: Thunder Bay Art Gallery, 1982.
Zuk, W.M. and D.L. Bergland. Art First Nations: Tradition and Innovation. Montreal, PQ: Art Image Productions, Inc., 1996.
Aboriginal Women in Art. Oakville, ON: Magic Lantern Communications Ltd., 1994, 30 min.
Native Art in Canadian Embassies Around the World. Oakville, ON: Magic Lantern Communications Ltd., 1995, 30 min.
Spirit of Turtle Island. Toronto, ON: Lynx Images, 1993, 55 min.
Todd, L. Hands of History. Ottawa, ON: National Film Board, 1994, 52 min.
Time: 525 minutes
In this activity, students examine the lifestyle of the Inuit through their visual art forms. Students will recognize that women, within Inuit cultures, have led the way to integrating art production as a means of survival. Students become familiar with the skills related to printmaking as they examine Inuit imagery.
Strand(s): Identity, Relationships, Challenges
Overall Expectations:
· demonstrate understanding of how Aboriginal art forms reflect cultural identity;
· demonstrate understanding of traditional Aboriginal forms of expression and their influence on the portrayal of Aboriginal identity in contemporary art forms;
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms;
· identify how specific Aboriginal art forms reflect aspects of the society that produced them;
· explain how art forms are a means for promoting dialogue and healing in Aboriginal communities;
· demonstrate understanding of issues related to the production of Aboriginal art forms.
Specific Expectations:
· describe gender roles in the creation and maintenance of traditions, values and beliefs in traditional and contemporary Aboriginal art forms;
· explain how the traditional art forms of particular Aboriginal communities were produced;
· explain the creation of Aboriginal art forms as a way of maintaining the values, traditions, and beliefs of particular communities;
· explain the importance of an art form to a cultural group;
· identify the strategies and processes used to create traditional Aboriginal art forms;
· demonstrate understanding of the skills used to create traditional Aboriginal art forms;
· produce art forms that demonstrate understanding of the art form characteristics of a specific Aboriginal culture;
· identify various reasons for the creation of Aboriginal art (e.g., functional, moral/spiritual, social/political, decorative/aesthetic);
· explain what Aboriginal artists or artisans might have been trying to express through their work;
· explain how traditional forms of expression influence modern designs in Aboriginal art forms;
· describe how the relationships between various Aboriginal art forms reflect particular regions and different cultural groups;
· describe how selected artists and their works represent their cultural groups;
· describe the skills and processes that selected artists use to create their art forms.
· Much of the visual imagery of the Inuit is derived from artifactual pieces, such as images found on tools and clothing. Many of their stories are reflected in images that decorate the tools and clothing used by community members. The phenomenon of creating visual art, for the purposes of sale, without a utilitarian function, was introduced during the 1950s. Sale of their artistic products is based on the skill of the craftsman and content of the item.
· Provide a 12-slide overview of the imagery associated with Inuit culture.
· Canadian society is just beginning to recognize a change in the art forms of the Inuit as a result of some of their people being trained in art colleges. Teachers should try to gather examples of contrasting styles of Inuit art imagery. Have students examine the geographical differences and the generational differences in Inuit art forms.
· Gather materials for printmaking, (e.g., linoleum tile, wood, or soapstone. Coloured paint or ink is needed.
· Ensure access to slide projector and various textual materials from contemporary and past lifestyles. As well include several storybooks.
· Understand content related to Inuit stories
· Some basic skills of printmaking
· Review safety issues related to carving and gouging tools.
· Ability to mix paints
6. Use a slide projector and show twelve images of Inuit lifestyle. Let students watch without conversing. With minimal teacher direction, have students make notes of what they see.
Have students break off into small groups. Hand out various textual materials related to Inuit lifestyles. Assign areas of responsibilities to each of the groups (e.g., housing, entertainment, employment opportunities, important values, degree of diversity, music, famous Inuit, current governmental practices). Have students present their results to the large group.
Examine early prints of Inuit lifestyles (e.g., images created by Pudlat Innukjuakjuk). Have students compare and contrast traditional imagery to works produced later by Ashevak Kenojuak. Discuss how colour has enhanced the imagery and how the artist has complicated the image. As a group, decide whether this has been effective or not. Discuss with students how each of the artists made their images. Have they all been done in a similar manner? How are they different or similar? Have students record their answers in their notebooks. Discuss with students how Inuit art imagery can contribute to the social make up of the community (e.g., providing opportunities for work in terms of the craft, printing, and the fall-out activities of retail sales). At the same time, ask students to offer some of the negative features (e.g., substance and alcohol abuse, or restructuring of community values to accommodate a money economy).
For a second comparison, examine the imagery of Jessie Oonark. Contrast her wall hangings with the images presented by Pulak. Examine the symbols and imagery used by the artists. Which images are important? How can one tell (e.g., positioning, colouration, size, repetition)?
Introduce printmaking as a skill. Outline the various ways that one could create prints (e.g., stencil, etching, engraving, lithography, and stone-cut methods). Have students select one method and create an image to use as a print base.
Have students select symbols found in traditional Inuit imagery and create a composition that incorporates one colour initially, and later, 3-colour production. Use the imagery to reflect a personal challenge that can be related to Inuit experiences.
Discuss with students how schooling could influence the design of Inuit printmaking. List their ideas in their notebooks.
Complete a review of Inuit artistic innovations by doing a search of recent publications and Internet resources. Have students compare their initial ideas with the images actually found.
Have students complete a report on how basic Inuit imagery has changed. Examine the gender production: Has it changed? (Berlo & Phillips (1998) point out that artistic production among the Inuit is largely done by the women.)
· Use verbal feedback to ensure that students understand how selected artists and their imagery represent their cultural group; how important printmaking is to current Inuit lifestyles in different communities and for the maintenance of values, traditions, and beliefs in various groups;
· Develop a rubric to assess individual reports related to: understanding the importance of gender role in the maintenance of traditions, values, and beliefs;
· Use an observation checklist to monitor student understanding of how traditional art forms are related to modern designs and could be created as a result of outside influences;
· Develop a rubric to assess students’ print production which demonstrates an understanding of skills and processes that selected artists used to create their art forms; and the symbols found in traditional and contemporary art forms.
· Provide sample templates to use.
· Use ink as an alternative to paint.
· Use a visual organizer/outline to which to refer.
· Talk through visual materials and encourage the student to verbalize what they see, drawing their attention to critical details.
· Pair students appropriately for reading activities; have them take turns reading or if necessary, have a better reader read to them or make a tape of reading material, while the weaker reader follows along (or provide teacher made or commercial tapes).
· Divide tasks within a group of students according to strengths and abilities.
· Make adjustments in expectations re quality and quantity of output.
Berlo, J.C. and R.B. Phillips. Native North American Art. Oxford, NY: Oxford University Press, 1998.
Blodgett, J. The Coming and Going of the Shaman: Eskimo Shamanism and Art. Winnipeg, MB: Winnipeg Art Gallery, 1978.
Ryan, A.J. The Trickster Shift: Humour and Irony in Contemporary Native Art. Toronto, ON: University of Toronto Press, 1999.
Wright, D. "Inuit Tradition and Beyond: New Attitudes Toward Art Making in the 1980s." Inuit Quarterly, Vol. 6, No. 2: 8-15.
Zuk, W.M. and D.L. Bergland. Art First Nations: Tradition and Innovation. Montreal, PQ: Art Image Productions, Inc., 1996.
Sedna: The Making of a Myth. Ottawa, ON: National Film Board, 1992, 59 min.
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