Course Profile
Expressing Aboriginal Cultures, Grade 9 open, Public
Unit 4: Music and Dance
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 identify music and dance styles in the Canadian Aboriginal experience. Students interpret meanings of chants, songs, and dances; identify the instruments required to create Aboriginal music; recognize the materials necessary to make Aboriginal instruments and dance regalia; and be able to identify significant Aboriginal musical and dance contributors. Students have the option of participating in one of four skill sets found in Activities 5 and 6.
Strand(s): Identity, Relationships, Sovereignty, Challenges
Overall Expectations: GLV.08, GLV.09, GLV.10, GLV.11, REV.01, REV.02, REV.03, SOV.01, SOV.02, SOV.03, CHV.01, CHV.02, CHV.03, CHV.04.
Specific Expectations: GL1.02, GL1.04, GL1.05, GL1.06, GL1.07, GL2.01, GL2.01, GL2.03, GL2.04, GL2.05, GL3.01, GL3.03, RE1.02, RE1.03, RE1.04, RE2.02, RE3.01, RE3.02, RE3.04, RE3.06, SO1.01, SO1.02, SO1.03, SO1.05, S01.08, SO2.01, SO3.01, SO3.02, SO3.03, CH1.01, CH1.03, CH1.04, CH1.05, CH2.02, CH3.03, CH3.04.
|
Activity 1 |
Introduction to Aboriginal Music |
75 minutes |
|
Activity 2 |
Traditional Forms of Aboriginal Music |
375 minutes |
|
Activity 3 |
Contemporary forms of Aboriginal Music |
390 minutes |
|
Activity 4 |
Dance (Traditional and Contemporary) |
390 minutes |
|
Activity 5 |
Creating a Performance |
435 minutes |
|
Activity 6 |
Creation of Performance Tools |
435 minutes |
· It should be noted that either Activity 5 or 6 is optional. Creating a Performance (Activity 5) involves students developing the skills to dance or sing. Creation of Performance Tools (Activity 6) requires that students develop skills to create musical instruments or dance regalia. Teachers select the activity which fits the interests and skills of their particular student group;
· Gaining access to a variety of musical pieces is necessary in order to present lessons of quality and impact. Musical renditions can be secured by visiting local Aboriginal radio stations, powwows, and stores specializing in Aboriginal wares. Many Aboriginal recordings can be found on cassette tapes, video tapes, CDs, and web sites;
· Make contacts with local Aboriginal musicians and dancers prior to course delivery. 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 visitors and pre-plan classroom visits and other interactions;
· The approach to take in this unit is to examine the topics of traditional and contemporary music in a comparative cultural manner. For example, Activity 2 encourages students to select a cultural group and systemically determine the meanings and style of their music. In Activity 3, students are encouraged to review contemporary music as a large group, with the use of small groups for discussion;
· In preparation for this course, teachers are encouraged to use Aboriginal music as a background while teaching the visual art and creations units. By the time Unit 4 is taught, students have developed a distinguishing and recognizing ear for Aboriginal music.
Collaborative work skills are expected as many tasks involve students working in small or large group settings. Experiences in the elementary arts and language programs assist students in achieving the expectations of this unit. Skills relating to musical appreciation in the Grades 7 and 8 Ontario Art Curriculum are expected in several activities in this unit. Successful completion of units one and two of this course is also be important.
Brainstorming, whole group instruction and class discussion, small group 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, visualization, and deep reflection may be used to deliver this unit.
Assessment and evaluation must be clear, thorough, and on-going. Teachers should consider a wide variety of diagnostic, formative, and summative assessment tools such as checklists, response journals, anecdotal reports peer- and self-assessments, group participation, performances and presentations. To accommodate the needs of Special Education and ESL/ESD students, demonstrations of achievement may be different, including an oral report instead of a written report, working in pairs instead of in groups, or demonstrating instead of describing.
Time: 75 minutes
In this activity students are introduced to a range of dance and musical styles from Aboriginal groups in Canada. Students are expected to use newly acquired knowledge (from Units 1, 2, and 3) to aid in the interpretation of dance forms and music.
Strand(s): Identity, Relationships, Sovereignty
Overall Expectations:
· describe the elements of culture reflected in various art forms;
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms;
· identify different interpretations of sovereignty exemplified in various 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;
· describe the role of art forms in relation to the environment in specific Aboriginal cultures
· explain how traditional forms of expression influence modern designs in Aboriginal art forms;
· identify, in Aboriginal art forms, the changing roles of women, from child to youth to adult or elder;
· explain how Aboriginal art forms communicate the philosophy and political and cultural values of Aboriginal peoples.
· This activity introduces students to a wide range of Aboriginal music and dance forms. Teachers are encouraged to make this activity into a game situation (e.g., Reach for the Top style). Or simply, offer students a range of items in a non-threatening manner that will ensure interest and co-operation.
· In a teacher-directed fashion, teachers present different visual and auditory items relating to music and dance. For example, images of people dressed in dance regalia, a song from Buffy Ste Marie, an Iroquoian social song, or a visual demonstration of a dance style. Teachers need to have from five to ten different items, depending upon the familiarity and knowledge base of the group and available resources.
· As each item is presented, provide adequate time for student groups to respond to a prepared hand out.
· Ensure that all necessary materials are available and that equipment is in good operating order.
· Below is a sample list of items
Presentation 1: Present an image of a Jingle Dress Dancer (world wide web resources, http://www.powwows.com/dancing/index2.html) and ask students to identify the style of outfit and record the origins and purpose of the outfit.
Presentation 2: Using a cassette tape recorder, have students identify the musician and story of a traditional Inuit song (e.g., a homecoming song from Tumassi Quitsaq).
Presentation 3: Using a cassette tape recorder, have students identify the musician and story of a traditional Iroquoian song (e.g., the Alligator song from Iroquoian Social Songs).
Presentation 4: Have students watch a video presentation of a hoop dancer. Identify the origins and importance of the dance (e.g., Hoop Dancing in the Magic Lantern Communications production).
Presentation 5: Present a poster of a Grass Dancer (world wide web resources, http://www.powwows.com/dancing/index2.html) and list the materials used in the outfit.
Presentation 6: Use a cassette tape recording from Buffy Ste. Marie's collection (ADD, “Bury My Heart At Wounded Knee” in Up Where We Belong) and ask students to interpret the song and identify the audience that would respond to the artist's music.
Presentation 7: Have students view a video presentation of Cree square dancing and have them explain its evolution or describe where this style came from (e.g., Rabbit Dance in the Chisasibi Video production).
Presentation 8: Watch a video recording of Quanak & Napachi: More than Throat Singers and have students identify how the sound is created and state the story related in the song.
Presentation 9: Listen to a cassette tape recording of a song from Robbie Robertson (e.g., "Sacrifice" or "The Code of Handsome Lake"). Have students identify the instruments that were necessary to create the music. Ask students to relate the meanings of the song to historical events.
Presentation 10: Use an image with people demonstrating a performance of a round dance (e.g., from a National Heritage Day Poster). Ask students to explain the purpose of the round dance.
· Use information acquired from Units 1, 2, and 3.
· Work collaboratively in groups and in pairs.
· Work independently.
· Plan, develop, rehearse, and tell a story.
· Interpret a story.
· Identify symbols from a variety of cultural groups.
· Understand multi-level meanings found in stories and images.
· Listen actively.
· Question effectively.
· Discuss efficiently.
1. Organize students in groups of three. Have students use a work sheet to determine and identify the stories, musical groups, types of dancers, and dance materials used.
Each activity will be teacher directed or prompted. As the answers are recorded, take up immediately and be prepared to answer any questions that might arise.
· Use an observation checklist to identify knowledge-base of individual students and their learning needs.
· Use an observation checklist to identify students who: understand the unique characteristics of art forms; can identify symbols in traditional and contemporary art forms in specific cultural groups; can describe the role of art forms in relation to a specific environment; can describe how various art forms represent world views, traditions, beliefs, and sovereignty.
· Work in pairs and in groups;
· Provide adequate time for all students;
· Ensure the pre-assessment is introduced in a non-threatening manner (in order to identify students’ strengths and current knowledge) to ensure special needs students, in particular, do not experience a sense of failure, but rather a sense of intrigue.
Aboriginal Heritage Day Poster. Ottawa, ON: Heritage Communications, 1999.
Porter, M. 1492 Who Found Who. Sioux Lookout, ON: First Nations Music Inc., 1993.
Robertson, R. The Underworld of Redboy. Mississauga, ON: BMI Music, 1998.
Ste. Marie, B. It’s My Way. Santa Monica, CA: Vanguard Records, 1964.
Ste. Marie, B. Up Where We Belong. Mississauga: EMI Records, 1996.
Stewart, J. I Am an Eagle. Sioux Lookout, ON: First Nations Music Inc., 1993.
Tumassi Quitsaq. Montreal: Inukshuk Records.
Various artists. Nunavik Concert. Montreal: Inukshuk Records.
Arts and Entertainment. Oakville, ON: Magic Lantern Communications Ltd., 1995.
No Man’s Land/Hoop Dancing. Oakville, ON: Magic Lantern Communications Ltd., 1995.
Qaunak & Napachie: More than Throat Singers. Oakville, ON: Magic Lantern Communications Ltd., 1994.
Ste. Marie, B. Up Where We Belong. Toronto, ON: Canadian Broadcasting Corporation, 1996.
Time: 375 minutes
In this activity students listen to various forms of traditional Aboriginal music for various purposes. For example, students are expected to understand the reasons why certain forms of music were used, such as various forms of chanting, game/competitive songs, and songs of celebration and story. Students, in referencing previous learning, have an opportunity to listen and to appreciate the ingenuity and skill required to create Aboriginal music. Students listen to the rhythms and develop a sense of understanding and appreciation for the delivery of the music.
Strand(s): Identity, Relationships, Sovereignty
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;
· explain how art forms can be an expression of sovereignty.
Specific Expectations:
· identify characteristics of art forms (e.g., totem poles, storytelling, songs) from various Aboriginal groups in Canada;
· explain how the traditional art forms of particular Aboriginal communities were produced;
· demonstrate understanding of the skills used to create traditional Aboriginal art forms;
· explain how Aboriginal art forms differ across Canada;
· 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;
· compare relationships in the Aboriginal art forms of various Aboriginal cultures;
· explain what Aboriginal artists or artisans might have been trying to express through their work;
· explain how Aboriginal art forms communicate the philosophy and political and cultural values of Aboriginal peoples.
· Arrange for equipment to enable students to complete listening activities related to their group work. Plan to book time in the library to enable students to do computer and print research.
· Offer students an opportunity to compare traditional songs of several Aboriginal cultures. Using group work and a presentation format, students could select one cultural group’s music and complete an analysis of several songs. Students then present it to their classmates for review and assessment.
· Gather collections of music related to one particular cultural group and have audio players with head phones;
· Use Decoding Music: Appendix E;
· As a teaching point, ensure that students stay focussed by monitoring progress. Ensure that the work load has been distributed evenly in the group.
· Understanding of content from previous units
· Collaborative work skills
· Effective brainstorming skills
2. Introduce the activity by playing a song (e.g., Iroquoian Alligator song or Ojibwe Round Dance Song) that would be reflective of pre-contact (i.e., before European immigration) culture. Introduce the song by telling the students the title of each song. Have students listen to it and give them an opportunity to discuss their observations with their peers. Have students record their observations in their response journals.
Guide students in comparing the variations in presentation of traditional songs (e.g., pre-contact style of music). How are they different? How are they similar? Are there certain rhythms or sounds that are only found in one culture?
Have students, working in small groups, select a culture to explore in depth; use the Decoding Music: Appendix E. Create a report or presentation to share the researched information with the other class groups.
Have students examine how Aboriginal communities used song (e.g., in gaming situations, ceremonials, and celebrations). Compare these uses to the contemporary use of songs.
Have students compare (e.g., the melody, harmony, rhythm, tone, pace, and emphasis of the songs) in specific types of songs used in various communities (e.g., hand games in Salish communities and hand games in Plains Cree culture). Students, in their presentations, may consider having groups of students play the games.
Review with students how to organize data and make suggestions about how to present material. Students will then organize their data for presentation.
· Use verbal feedback to ensure that students understand how art forms differ across Canada.
· Use an observation checklist to monitor student understanding of how traditional art forms communicate the philosophy and political and cultural values of a people.
· Develop a rubric to assess students’ presentations which demonstrates an understanding of: the characteristics of the art form; how the art form was created; and how the meaning of the art form reflected various relationships in Aboriginal communities.
· Have students engage in oral discussion about the music.
· Provide opportunities for the completion of independent work.
· Use a visual organizer/outline.
· Incorporate several senses, e.g., visual, auditory, and movement.
· Provide individual guidance and monitoring.
Stuart, W.B. Gambling Music of the Coast Salish Indians. Ottawa, ON: National Museum of Civilization, 1972.
Eastern Woodland (Cree, Ojibwa, Iroquoian)
Six Nations Women. We Will All Sing. Alburquerque: Soar Corporation.
Iroquois Social Dance Songs, (v.1, 2, 3). Eastern Music.
Joanne Shenandoah. Orenda. Boulder: Silverwave Records.
The Wood Brothers. Cree Stick Game Songs. Phoenix: Canyon Records.
Vic Thunderchild. Vic Thunderchild. Winnipeg: Sunshine Records.
Woodland Indian Cultural Centre. The Sound of the Drum. Brantford, ON: Woodland Indian Cultural Centre, 1986.
Earl Bullhead. Walking the Red Road. Alburquerque: Soar Corporation.
Elk Nation Singers. Spirit Drum. Lakewood: Etherean Music.
Joe Washington. Stick Game Songs. Phoenix: Canyon Records.
Komaksiutiksak, Inuit Throat Singers. Winnipeg: Sunshine Records.
Inuit Chants & Drums from Thul
http://www.eclatart.com/Music1.html
Inuit
Games & Songs
http://www.eclatart.com/Music1.html
Iroquoian
Social Songs
http://www.ohwejagehka.com/songs.htm
Music
of the Inuit: Copper Eskimo
http://www.eclatart.com/Music1.html
Nunavik
Concert (various artists)
http://home.istar.ca/~inukshuk/recordstore.html
Powwow
Dancing
http://www.powwows.com/dancing/index2.html
Rainbow
Walker records
http://www.teleport.com/~mbowwlkr/styles/traditionalam.htm
Songs
of the Inuit People (various artists)
http://www.eclatart.com/Music1.html
Songs
of the Inuit II: Drum Dance
http://www.eclatart.com/Music1.html
The
Inuit Artist World Show Case (various artists)
http://home.istar.ca/~inukshuk/recordstore.html
Tumassi Quitsaq
http://home.istar.ca/~inukshuk/recordstore.html
Tullaugaq,
A., and L. Amarualik, Katutujatut: Throat Singing
http://home.istar.ca/~inukshuk/recordstore.html
Time: 390 minutes
In this activity students listen to how music has evolved over time in Aboriginal communities. Students listen to music samples, such as fiddling, gospel, country and western, folk, jazz, rock, ballads, and rap. Students understand the relationships found between musical works and historical/social movements in Canada.
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 how specific Aboriginal art forms reflect aspects of the society that produced them;
· demonstrate how Aboriginal art affirms Aboriginal cultures;
· explain how art forms are a means for promoting dialogue and healing in Aboriginal communities;
· identify how new and evolving art forms reclaim, revive, and sustain Aboriginal cultures.
Specific Expectations:
· describe gender roles in the creation and maintenance of traditions, values and beliefs in traditional and contemporary Aboriginal art forms;
· 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 Aboriginal art forms differ across Canada;
· interpret the meaning of Aboriginal art forms in the context of tradition, contemporary art, and today’s society;
· describe the contributions of Aboriginal artisans to Canadian society (e.g., Tomson Highway - theatre; Graham Greene - acting; Pauline Johnson - poetry; Robbie Robertson - music; various Inuit sculptors);
· 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;
· describe how art forms represent customs, world views, traditions, beliefs, and sovereignty;
· explain how Aboriginal art forms communicate the philosophy and political and cultural values of Aboriginal peoples;
· identify Aboriginal art forms that promote sovereignty;
· demonstrate an appreciation of the diversity of Aboriginal art forms;
· describe how Aboriginal artists represent sovereignty in their work;
· describe how selected artists and their works represent their cultural groups;
· describe how Aboriginal art forms promote communication within and the growth of selected Aboriginal communities;
· identify ways that contemporary Aboriginal art forms contribute to the renewal and healing of Aboriginal societies.
· Teachers should pre-listen to any music that will be played in the classroom. Decoding and analysing questions will need to be used to provide effective lessons to students.
· In this activity, the teacher should take a historical development approach starting with fiddling music, gospel music, jazz music, country music (C-Weed), ballads/demonstration music, heavy rock bands, rap music, and hip-pop music. The music in these fields is not culture specific. There may be a trend on the part of some communities to focus upon certain types of music and not accept others forms.
· Teachers are encouraged to use listening centres for further enrichment or remediation.
· Effective listening skills
· Effective writing skills
· Good group skills
3. Introduce the sounds of fiddling music by playing several songs (e.g., The Red River Jig and Rabbit Dance). Ask students how fiddling may have arrived in Aboriginal communities (Bennett, 1985; Lederman, 1988, 1991). Acknowledge their answers by writing them on the chalkboard. After students have responded, provide them with a historical explanation (e.g., fiddling came in with the fur traders and became part of the Métis and Aboriginal cultures). Have students go into small groups to brainstorm for ideas on how fiddling music influenced Aboriginal peoples (e.g., clothing, tools, weapons, lifestyle).
Have students work in groups. Assign musicians and bands to each of the groups. Have students listen to their musical groups and make a presentation on the styles of music that they have heard. Use the Music Decoding Sheet in Appendix E. Repeat the process on the second consecutive day. Use a different musician or band for each of the groups.
Use one class to focus upon the influence of Buffy Ste-Marie. Use a time line in discussing her contributions to Native Canada. Focus on three of her songs from the 60s or 70s (e.g., "Universal Soldier"). Distribute copies of the lyrics and have students in small groups discuss their reactions to her choice of words. In what ways does her music help in the expression of Aboriginal sovereignty?
Examine the music of Joanne Shenondoah, Kashtin, Wapistan, Susan Aglukark, Buffy Ste-Marie, and Robbie Robertson. What are the common elements in the music of these performers? How are notions of traditionalism (e.g., chants, lyrics, and themes) incorporated in their music? In six small groups, assign each of the three aspects to two groups. Have students discuss how this music revitalizes and heals Aboriginal communities. Ask students: In what ways does it mobilize Aboriginal populations?
Examine current music. Ask students to explain in their notebooks how the current music reflects traditional values. How does it reflect contemporary Aboriginal values?
As an alternative, one could have students close their eyes and listen to several selections of music and record their feelings in their response journals.
· Use verbal feedback to clarify individual understanding related to: the importance of gender role in the maintenance of traditions, values, and beliefs; and the importance of music maintaining tradition, values, and beliefs.
· Use an observation checklist to monitor: student group discussion that acknowledges the diversity of the music across the country; student understanding of how contemporary music can communicate the philosophy, political, and cultural values; and student understanding of how music can foster healing and renewal within various community groups.
· Develop a rubric to assess: students’ group presentation related to examining symbols of a particular culture; understanding the meaning of Aboriginal art forms in the context of tradition, contemporary art, and today’s society; and students’ interpretation of how a cultural group’s music represents its philosophy and sovereignty.
· Use listening centres for enrichment or remediation.
· 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.
· 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.
Bennett, J. “The Fiddler’s Heritage at Pangnirtung,” Canadian Folk Music Society Bulletin, Vol. 19, No. 3, Sept. 1985, pp.25-32.
Lederman, A. “Native & Metis Fiddling in Western Manitoba,” Musicworks, No. 36, Fall 1986, pp. 13-17.
Lederman, A. “Old Native & Metis Fiddling in Manitoba: Two Views,” Canadian Folk Music Society Bulletin, Vol. 22, No. 2-4, Dec. 1988, pp.25-26.
Lederman, A. “Old Indian & Metis Fiddling in Manitoba: Origins, Structure and Questions of Syncretism,” Canadian Folk Music Journal, No. 19, 1991, pp.40-60.
Stuart, W.B. Gambling Music of the Coast Salish Indians. Ottawa, ON: National Museum of Civilization, 1972.
Eastern Woodland (Cree, Ojibwa, Iroquoian)
Jerry Alfred & the Medicine Beat. Etsi Shon. Red House.
Martin, Lawrence. Message. Sioux Lookout: First Nations Music.
Martin, Lawrence. Wapistan is Lawrence Martin. Sioux Lookout: First Nations Music.
Miller, Bill. Reservation Road. Nashville: Rosebud Records.
Miller, Bill. Old Dreams, New Hopes. Nashville: Rosebud Records.
Porter, M. 1492 Who Found Who. Sioux Lookout: First Nations Music, 1993.
Robertson, R. Contact from the Underworld of Redboy. Mississauga: BMI Music, 1998.
Ste. Marie, B. It's My Way. Santa Monica, CA:Vanguard Records, 1964.
Ste. Marie, B. Up Where We Belong. Mississauga: EMI Records, 1996.
Shenondoah, Joanne. Joanne Shenondoah. Phoenix: Canyon Records.
Shenondoah, Joanne. Once in a Red Moon. Boulder: Silverwave Records.
Shenondoah, Joanne. Lifeblood. Boulder: Silverwave Records.
Shenondoah, Joanne. Matriarch. Boulder: Silverwave Records.
(Various artists). Gabriel's Crossing. Turtle Island Music.
Ste-Marie, B. It's My Way. Santa Monica, CA:Vanguard Records, 1964.
Ste-Marie, B. Up Where We Belong. Mississauga: EMI Records, 1996.
The Inuit Artist World Show Case (various artists) Montreal: Inukshuk Records
Adams, Charlie. Quviasupunga, Montreal: Inukshuk Records.
Aglukark, Susan. Arctic Rose. Mississauga: EMI Records 1994.
Aglukark, Susan.This Child. Mississauga: EMI Records 1994.
Kashtin. Innu. Pointe Claire: Grope Concept Musique, 1991.
Kashtin. Kashtin. Pointe Claire: Grope Concept Musique, 1990.
Kashtin. Akua Tuta. Pointe Claire: Grope Concept Musique, 1994.
Ningiuk, Charlie. Innuuqatik, Montreal: Inukshuk Records.
Qimutjuit Band. Cousin. Montreal: Inukshuk Records.
Tumassi. Quitsaq. Montreal: Inukshuk Records.
Various artists Uvagut Inuusivut - Our Ways. Montreal: Inukshuk Records.
Northern Cree Singers. Live at Fort Duchesne, vol. 3. Phoenix: Canyon Records.
Northern Wind Singers. Northern Wind Singers, vol.9. Winnipeg: Sunshine Records.
Whitefish Bay Singers. Whitefish Bay, vol.4. Winnipeg: Sunshine Records.
Adams, C.
Quviasupunga
http://home.istar.ca/~inukshuk/recordstore.html
Ningiuk,
C. Innuuqatik
http://home.istar.ca/~inukshuk/recordstore.html
Inuit
Chants & Drums from Thul
http://www.eclatart.com/Music1.html
Inuit
Games & Songs
http://www.eclatart.com/Music1.html
Music
of the Inuit: Copper Eskimo
http://www.eclatart.com/Music1.html
Nunavik
Concert (various artists)
http://home.istar.ca/~inukshuk/recordstore.html
Powwow
Dancing
http://www.powwows.com/dancing/index2.html
Qimutjuit
Band Cousin
http://home.istar.ca/~inukshuk/recordstore.html
Songs
of the Inuit People
http://www.eclatart.com/Music1.html
Songs
of the Inuit II: Drum Dance
http://www.eclatart.com/Music1.html
Tumassi
Quitsaq
http://home.istar.ca/~inukshuk/recordstore.html
Tullaugaq,
A., and L. Amarualik, Katutujatut: Throat Singing
http://home.istar.ca/~inukshuk/recordstore.html.
Uvagut , InuusivutBOur Ways
http://home.istar.ca/~inukshuk/recordstore.html
The Inuit Artist World Show Case
http://home.istar.ca/~inukshuk/recordstore.html
Time: 390 minutes
In this activity students examine the forms of traditional dance expressed by Aboriginal people. Students develop an understanding of the stories of origination related to: Eskonye dances as found in Iroquoian cultures; and social dances as expressed in celebrations such as powwows. Students develop an understanding of the stories found in dance forms.
Strand(s): Identity, Relationships, Sovereignty, Challenges
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;
· demonstrate how Aboriginal art affirms Aboriginal cultures;
· demonstrate understanding of the impact of Aboriginal art forms on society.
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;
· explain how symbols represent specific Aboriginal cultures;
· explain how Aboriginal art forms differ across Canada;
· explain how natural environments affect the development of Aboriginal art forms (e.g., Inuit soapstone carving);
· describe how the relationships between various Aboriginal art forms reflect particular regions and different cultural groups;
· identify, in Aboriginal art forms, the changing roles of women, from child to youth to adult or elder;
· demonstrate understanding of the importance of women in Aboriginal cultures;
· demonstrate an appreciation of the diversity of Aboriginal art forms;
· explain how Aboriginal art forms can be a means of self-expression and collective identity that re-establish sovereign relationships;
· describe the skills and processes that selected artists use to create their art forms;
· describe how Aboriginal art forms promote communication within, and the growth of selected Aboriginal communities.
· Teachers should become familiar with the development of the powwow and Iroquoian Eskonye dances. Inviting dancers from Iroquoian and Powwow traditions would provide students with an opportunity to develop insight into these topics;
· Gym or separate classroom space such as the size of a stage may be needed.
· Application of cultural themes in a cross-cultural context
· Collaborative work skills
4. Using a videotape of Eskonye Dances, students are introduced to the importance of dance in Aboriginal communities. The videotape introduces students to the role of story in dance forms.
Invite a guest speaker to discuss and teach the students the basics for localized Aboriginal dance forms. Have students move into small groups to review the stories of various dances from the local Aboriginal group.
Should there not be a resource person available, have students conduct a resource search involving the world wide web and print materials in school and local libraries. Have students work in small groups, with a focus on particular cultural groups. Have students report back to the class on the following: types of dances, purpose of dances, timing dances occurred, and gender-role responsibilities. Challenge students to find similarities between the dance forms.
Ask students to list what happens at powwows and to suggest why powwows exist. Why do Aboriginal people go to powwows? Students should consult world wide web (see Powwow Dancing - http://www.powwows.com/dancing/index2.html) or Aboriginal newspapers (especially Anishnabek News and Windspeaker) for information related to powwow dancing.
Outline the sequence of events required for a powwow. Highlight how the powwow has evolved (e.g., the differences between traditional and competition powwows).
Have students study each of powwow dance forms. In small groups, have students research the story, dance steps, and dress for a particular dance style and present their findings to the class. Other students are expected to take notes.
Point out to students that in some Aboriginal communities jigging or square dancing (see Square Dancing, vol. 3. Chisasibi: Chisasibi Cree Nation) is the major form of entertainment (e.g., in Cree communities of eastern James Bay and in the Métis and Native communities of Manitoba).
Introduce students to the basic dance steps of jigging. Outline the variations to the form and describe the stories that correspond to the dance types. In small groups, have students practise the basic dance steps. If possible, invite a dancer in to demonstrate and teach the steps.
Introduce the music of John Kim Bell, with the use of a video (John Kim Bell). Discuss how the music of this artist relates to Aboriginal communities. Find and present video clips of Aboriginal dancers in ballet or modern dance (e.g., Rene Highway).
Discuss with the class the following issues: Can Aboriginal artists participate in the field of ballet and classical music without losing their Aboriginal identity? What are the factors that determine Aboriginal identity? Is participation in modern dance a positive step towards healing and sovereignty?
Have students respond, in writing, to the following statement: Maintaining music and dances will ensure the survival of Native culture.
· Use verbal feedback to ensure that students: understand the changing roles of women in dance; appreciate the diversity in various forms of dance; recognize that dance can be a form of self-expression and collective identity that re-establishes sovereign relationships; identify how dance can contribute to renewal and healing within Aboriginal communities.
· Develop a rubric to assess individual reports related to: explaining how dance forms can be a celebration of Aboriginal peoples; and understanding the meaning of dance forms in specific cultures.
· Use an observation checklist to monitor student participation and understanding of traditional dance forms from various Aboriginal groups.
· Develop a rubric to assess student group discussion that: focusses on dance as a way of maintaining traditions, values, and beliefs in traditional and contemporary Aboriginal art forms; recognizes that the natural environment affects the development of a dance form and causes diverse, but yet unique versions of the basic form.
· Encourage students to work in pairs;
· Provide opportunities for independent work time;
· Use a visual organizer/outline to which to refer;
· Make adjustments in expectations regarding quality and quantity of output.
Asch, M. Kinship and the Drum Dance in a Northern Dene Community. Edmonton: Boreal Institute for Northern Studies, 1988.
Laubin, R. and G. Laubin. Indian Dances of North America: Their Importance to Indian Life. Norman: University of Oklahoma Press, 1989.
Nettl, B. Blackfoot Musical Thought: Comparative Perspectives. Kent: Kent State University Press, 1989.
Samuel, C. The Chilkat Dancing Blanket. Seattle: Pacific Search Press,1990.
Allegheny Singers. Ohwejagehka Gaenasho:oh. Ohsweken, ON: CKRZ SONICS FM, 1996.
CKRZ SONICS FM. Ohi:yo Sing: At Cold Spring Longhouse. Allegheny Territory, 1995.
Iroqrafts Ltd. Iroquois Social Dance Songs, Volume 3. Ohsweken ON: Iroqrafts, 1992.
Northern Cree Singers. Live at Fort Duchesne, Vol. 3. Phoenix: Canyon Records.
Northern Wind Singers. Northern Wind Singers, Vol.9. Winnipeg: Sunshine Records.
Whitefish Bay Singers. Whitefish Bay, Vol.4. Winnipeg: Sunshine Records.
Eskonye Dances. Brantford, ON: Woodland Indian Cultural Centre, 1993, 60 min.
John Kim Bell. Ottawa: National Film Board, 1991, 30 Min.
No Man’s Land/Hoop Dancing. Oakville, ON: Magic Lantern Communications Ltd., 1995, 30 min.
Square Dancing, vol. 3. Chisasibi: Chisasibi Cree Nation, 1999, 60 min.
Traditional Dances/Parliamentary Legislation. Oakville, ON: Magic Lantern Communications Ltd., 1994, 30 min.
Tradition with a Twist. Oakville, ON: Magic Lantern Communications Ltd., 1990, 30 min.
Time: 435 minutes
In this activity, students have an opportunity to develop a performance. Students choose to take part in either traditional or contemporary music and dance forms (e.g., learning to sing or dance in the manner of traditional Iroquoian style or develop singing talents along the lines of Susan Aglukark or 7th Fire). As the expectations of this activity need time to flourish, students are introduced to this activity early in the school year.
Strand(s): Identity, Relationships, Sovereignty, Challenges
Overall Expectations:
· demonstrate understanding of how Aboriginal art forms reflect cultural identity;
· produce Aboriginal art forms that portray Aboriginal culture;
· demonstrate understanding of the relationships among Aboriginal peoples, their environments, and art forms;
· demonstrate how Aboriginal art affirms Aboriginal cultures;
· demonstrate understanding of issues related to the production of Aboriginal art forms.
Specific Expectations:
· identify characteristics of art forms (e.g., totem poles, storytelling, songs) from various Aboriginal groups in Canada;
· 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;
· use appropriate natural materials to reproduce art forms that convey some aspect of Aboriginal peoples’ beliefs or values related to good relationships;
· demonstrate understanding of the importance of art forms as an expression of a sovereign identity;
· explain how art forms are expressions of the celebration of Aboriginal peoples;
· describe how Aboriginal art forms promote communication within, and the growth of selected Aboriginal communities.
· Ideas related to this activity are to be introduced at the beginning of the year. Students must choose to be involved in either a dance or a musical performance (e.g., learning how to sing the songs in Iroquoian or Ojibwe or learning how to dance as a Jingle Dress Dancer). Students may choose to do this activity or the exercise in Activity 6. This process is determined by the teacher, who may choose to have all students do all aspects;
· The teacher needs to gather the necessary music and dance materials before the unit and activity starts. Again, it would be advisable to bring in a knowledgeable person to help with the development and production of the music, dance, and creation.
· An understanding of the technical aspects of Aboriginal music or dance.
· Understanding the stories underlying songs and dances.
5. Introduce students to the idea that for the next two weeks they have the opportunity to either learn a certain style of dance or music. Outline a process for students to work which ensures success. For example, ask students to meet in groups to plan what they do in this class. Upon reaching a decision, students meet with the teacher to discuss what they plan to do. Students may then go about rehearsing.
Set a deadline for completion of the rehearsals and set dates for performances.
Follow up with students and discuss their feelings about participating in the production of music or dance. Ask if, by participating, they developed an appreciation for the importance of song or dance to a particular cultural group.
· Use verbal feedback to ensure that students understand: specific characteristics and skills that help to create the art form; that the art form is a reflection of a sovereign identity and celebration as a people; and how Aboriginal art forms (dance and song) promote communication within selected Aboriginal communities.
· Develop a rubric to assess student production of an art form (e.g., song or dance) that demonstrates the characteristics of a particular culture and the appropriate use of natural materials.
· Opportunities for group work are provided.
· Provide opportunities for time to work independently.
Asch, M. Kinship and the Drum Dance in a Northern Dene Community. Edmonton, AB: Boreal Institute for Northern Studies, 1988.
Laubin, R. and G. Laubin. Indian Dances of North America: Their Importance to Indian Life. Norman: University of Oklahoma Press, 1989.
Nettl, B. Blackfoot Musical Thought: Comparative Perspectives. Kent: Kent State University Press, 1989.
Samuel, C. The Chilkat Dancing Blanket. Seattle: Pacific Search Press,1990.
Time: 435 minutes
In this activity, students review the construction and creation of instruments and dance regalia that are used in traditional musical events. Students select one instrument or dance regalia outfit and conduct research required to make it. Students are given class time to complete their work.
Strand(s): Identity, Relationships, Sovereignty, Challenges
Overall Expectations:
· produce Aboriginal art forms that portray Aboriginal culture;
· identify how specific Aboriginal art forms reflect aspects of the society that produced them;
· explain how art forms can be an expression of sovereignty ;
· 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 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;
· identify symbols found in the traditional and contemporary art forms of specific Aboriginal groups;
· identify the strategies and processes used to create traditional Aboriginal art forms;
· demonstrate understanding of the skills used to create traditional Aboriginal art forms;
· identify appropriate resources, themes, strategies, and processes for creating traditional Aboriginal art forms;
· produce art forms that demonstrate understanding of the art form characteristics of a specific Aboriginal culture;
· explain how natural environments affect the development of Aboriginal art forms (e.g., Inuit soapstone carving);
· use appropriate natural materials to reproduce art forms that convey some aspect of Aboriginal peoples’ beliefs or values related to good relationships;
· demonstrate understanding of issues related to the production, ownership, and display of Aboriginal art forms;
· create Aboriginal-style art forms that promote dialogue related to healing and affirmation;
· identify ways that contemporary Aboriginal art forms contribute to the renewal and healing of Aboriginal societies.
· Resource materials must be gathered before the implementation of this unit. Pre-planning needs to be done with the students. Students need to design, measure, and estimate the necessary materials to be used in the creation of the project.
· If possible, invite a knowledgeable person to help with the development and creation of the product.
· Employ one-to-one student conferencing to ensure student comprehension.
· Understand content related to stories found in music and dance.
· Safety issues related to sewing machine tools
· Safety issues related to using hand tools
6. Discuss with students the history and stories behind the musical instruments and dance regalia. Share with students the fact that making a dance outfit or musical item was often a result of dreams or mission for young adults.
Working in groups, have students anticipate construction/creation requirements. Allow students to go through the problem-solving process, identifying needs and possible obstacles. Let students suggest that a resource person be invited in. Help students to set this up by contacting a resource person and ensuring that the school officials are aware of a guest in the school. Offer assistance to the resource person.
With a resource person, allow students to work independently. Have students set daily goals. Ask them what will happen when they do not achieve their goals? Encourage new goal setting and refining their sense of what they can do.
With students, set a deadline for the completion of the work.
Provide adequate time for students to get started on the project.
Upon completion of the activity, follow up with discussion about process: its pleasures and difficulties.
Have students consider how these items were made in the past, without modern-day tools. How was it possible for this to be done? In their reflection journals, write their perceptions related to their answers.
· Use verbal feedback to ensure that students understand: specific characteristics, specific strategies, and skills that are required to create dance regalia or musical instruments; issues related to production, ownership, and display of Aboriginal art forms; and how Aboriginal art forms contribute to renewal and healing within Aboriginal communities.
· Develop a rubric to assess student production of dance regalia or musical instrument in terms of: understanding the symbols highlighted within the product; using appropriate natural materials.
· Use an observation checklist to monitor student’s ability to (during work and production time): explain how the dance regalia or musical instrument helps to maintain values, traditions, and beliefs; secure necessary resources to create the art product; explain how natural environments affected the development of various art forms; explain how Aboriginal artists represent sovereignty in their work.
· Provide opportunities for students to work in pairs or groups.
· Provide individual guidance and monitoring.
· Make adjustments in expectations regarding quality and quantity of output.
· Use a visual organizer/outline.
Burnham, D. To Please the Caribou: Painted Caribou-Skin Coats Worn by the Naskapi, Montagnais, and Cree Hunters of the Quebec-Labrador Peninsula. Toronto, ON: Royal Ontario Museum, 1992.
Diamond, B., M.S. Cronk, and F.M. Roson. Visions of Sound: Musical Instruments of First Nations Communities in Northeastern America. Chicago: University of Chicago Press, 1994.
Koch, R. Dress Clothing of the Plains Indians. Norman: University of Oklahoma Press, 1977.
Oakes, J. Copper and Caribou Inuit Skin Clothing Production. Hull: Canadian Museum of Civilization, 1991.
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