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Beaver Steals Fire: A Salish Coyote Story

Amani Kafeety, Myshiia Pinney-Dimock, Emily Dabrowski, Tatjana Wagner, Alyla Kler 

Description​ ​of​ ​Resource​ ​and​ ​Rationale 

Beaver Steals Fire is a picture book by the Confederated Salish and Kootenai Tribes. The story is told by Salish elder Johnny Arlee and beautifully illustrated by the tribal artist Sam Sandoval. It originates from the stories of the Salish-Pend d’Oreille people. 

This book conveys the story of Coyote and his animal friends, who climb up to the sky after dodging several threats, and steal fire from the animals living there to bring down to earth to share with other animals and humans. The meaning behind the story is to highlight the importance of fire for survival, to revitalize its use in modern day Indigenous practices, as well as to teach about exhibiting respect for fire and the environment. 

As a group, we chose this resource not only for its content but also for its various components, which honor its origin in the Salish-Pend d’Oreille tradition. The dedication acknowledges Elders and ancestors of these tribes, contemporary fire warriors, and children. This is particularly important as it recognizes the role that Elders play in preserving traditional and oral knowledge in Indigenous cultures. Additionally, it honors fire in a way that is often neglected nowadays. The resurfacing of a topic such as this can also serve as a platform to discuss other traditions and values that are inherent in the Indigenous cultures that have been repressed, or to discuss topics related to the significance of fire like the relevance of land and life. 

Furthermore, Beaver Steals Fire contains a note to the reader requesting that they keep in mind a seasonal tradition briefly mentioned in order to value this aspect of their culture, which subsequently helps connect the readers to the importance of such traditions in Indigenous heritage. Specifically, the story must only be shared by Elders during the winter when snow is on the ground, which invites students and teachers to engage in this tradition and further explore their rich culture. Likewise, this book contains a note to teachers and parents, and information on the artist, the storyteller, and The Fire History Project, which is a project aimed at increasing public awareness and appreciation for the use of fire to manage land. The motive behind this project can help illustrate to children the reality behind the story and deepen their understanding of such values. Lastly, the back of the book provides a Guide to Written Salish, as traditional Salish names were used in the text. It also reintroduces the traditional Salish language that has since been taken away from them. 

This resource is recommended by the BC Teacher's Federation and the First Nations Education Steering Committee. Therefore, it can be found in several local and public libraries. It can also be purchased through online websites such as Amazon, Strong Nations, and in various bookstores. 

Role​ ​of​ ​Indigenous​ ​Knowledges 

This story reflects on the importance of land and the natural environment in the lives of the Salish peoples, as derived from a story that has typically been passed down via oral storytelling for many generations. The story is of particular significance especially as it is depicted by the tribal artist Sam Sandoval and the storyteller Johnny Arleen, whom both belong to the Salish peoples, and have deep-rooted connections to the story told and can relate to its cultural significance in their own lives. The Salish-Pend d'Oreille and Kootenai Tribes have also been credited for their involvement and approval of publishing this storybook that embodies important cultural elements that are of important significance and hold immense value for the Salish-Pend d'Oreille peoples. Additionally, the story illustrates an engaging and thoughtful storyline that emphasizes the inclusion of the Salish-Pend d'Oreille language linguistics components. This could be viewed as a testament to preserving the Salish-Pend d'Oreille language, in which its very existence has been threatened by two centuries of colonization. 

The significant role of fire in the Salish-Pend d'Oreille people’s ways of living and survival is the key focal point of this story. Land is an additional important concept depicted throughout the illustrations and themes in this storybook, which reflects on the Salish-Pend d'Oreille people's connections to life in the Northern Rockies in northwestern Montana. This story draws the connections between each of the important elements that comprise Indigenous identity and are essential to their holistic well-being and survival: connections to land, sources for food, utilization of water, and other natural sources, and how fire links these all together. Recognizing the significant value of fire to the Salish-Pend d'Oreille peoples, it is fitting that they have committed to molding their cultural practices and developing a traditional story around it to be passed down across generations. In the wake of the dire impacts of colonization on preservation and existence of Salish-Pend d'Oreille cultural identity, these stories have been passed down for thousands of years as a means of preserving this history and culture for future generations to come. This story is an overall testament to the importance of preserving and taking good care of the natural environment, and challenges existing worldviews on the conceptualization and response to environmental outcomes (e.g. natural disasters, forest fires, floods, etc.). 

Challenges​ ​and​ ​Benefits​ ​of​ ​Using​ ​this​ ​Resource 

Beavers Steals Fire: A Salish Coyote Story becomes a valuable resource when introduced in elementary school classrooms as it covers a variety of teachable topics and serves as an engaging platform for young audiences to begin discussions about Aboriginal history and traditions.The first benefit of using this resource in grade 2-3 classrooms is that the engaging story provides an inclusive introduction to the topics of Salish-Pend d'Oreille peoples. Currently, children from diverse backgrounds join together in classrooms and are taught in a relatively persistent manner. However, this book resists this typical instruction, and allows children to construct their own meaning from the story, thereby educating themselves. The second benefit of using this story as part of a learning practice is that it shares traditional knowledge that has been passed down through generations, and students are able to experience a new setting for learning. By sharing this story as part of a circle activity students learn the importance of critical thinking, by listening and interpreting the story for themselves before a group discussion takes place. The third benefit of this resource is that while being a storybook geared towards younger children it still provides context by including a note to teachers and parents at the end, background information on the artist and the storyteller, discussing the Fire History Project, a note to the reader and acknowledgements. By including each of these the resource itself can be seen as honoring and respecting the traditions of Salish-Pend d'Oreille Peoples. There is also a phonetic alphabet provided to break down the language barrier as the names of characters in the book are written in Salish. Fourthly, as this resource is a part of the Fire History Project which was designed by the Salish-Pend d'Oreille community is used to educate and raise awareness of Salish peoples use of fire and how it was used to shape the land. In this way the storybook allows young minds to start thinking and being aware of other perspectives that challenge the westernized worldview of what fire represents. 

However, the use of this resource as a teaching tool in classrooms brings challenges as well. The first is the way in which the storybook is introduced to students; if it is not incorporated into a lesson plan, the story could lose meaning. A major concern is whether children will be able to learn a lesson from this story without being provided the proper context and understanding prior to the reading. In order for this book to be a valuable resource the teacher must be confident in their ability to discuss alternate perspectives voiced by students. A second challenge is that perhaps because the story is physically printed, the traditional knowledge of the story itself loses value. The story is traditionally told orally by Elders, and consequently students may lose some of the story’s meaning by only experiencing the story in written form. Lastly, it may be possible that the artist’s illustrations could cause the readers to misinterpret parts of the story, thus creating a conflicting perspective of the true meaning behind the story. 

How​ ​could​ ​this​ ​Resource​ ​be​ ​used​ ​in​ ​the​ ​Classroom? 

This storybook is a great resource for educators to use in the classroom, and it can be used in a variety of ways. According to the BC teacher’s federation, this book targets students who are in grades 2-3. It covers a variety curriculum themes such as relationships, traditional knowledge, collaboration and cooperation (First Nations Education Steering Committee & First Nations School Association, 2016). In order to authentically share this story with students, it is crucial for the educator to read the acknowledgement and note to parents/teachers. The reason being that the note states how the story is meant to be shared according to Salish-Pend d’Oreille cultural tradition. Specifically, it tells educators to only share this story during November, or when there is snow on the ground, as this is the time of year that elders of the Salish-Pend d'Oreille community would share this knowledge with their people. Also, the note for teacher and parents located at the back provides important context for the story and traditions of the Salish-Pend d'Oreille people . It informs educators why the story is shared, where it comes from, the significance behind it, and its connection to land and the community. In addition to this knowledge, this resource is also part of a larger series of educational material, which includes a video, documentary and lesson plan. This would allow educators to create in depth lesson plans that could extend over a period of time, and integrate curriculum from various subjects such as science and language arts. Overall, this resource provides a lot of authentic cultural context that an educator can use to introduce classroom themes and integrate curriculum. 

Not only can this resource be used to provide cultural context in the classroom, but there are many activities that can be done with it as well. According to Jo-ann Archibald (1994), one way educators can use story books in the classroom is by establishing a talking circle. Everyone must sit in a circle while the story is being shared, as this is a symbolic gesture expressing the equality among us. After the story is told, the teacher would check in with everyone’s understanding and ask what the story mean to them. This would allow the teacher to hear everyone’s individual understandings, and expose everyone to different perspectives. In doing so, students are presented new meanings of the story, and can therefore broaden their understanding of it. Once group discussion about the story is generated, the educator can ground the lesson in curriculum by referring to traditional ways of sharing stories and oral tradition. For example, what are some of the ways we share stories with each other? In addition to the talking circle, educators can also use a communicative approach to incorporate this resource into their curriculum. Often, students struggle with literacy skills. One way teachers can help strengthen the development of these skills is by encouraging students to read at home. Since this book is geared towards young children, educators could establish a reading activity, where students are given books to read at home with their parents. The parents can then read this story to their children, creating a connection between classroom and community. By doing this, the parents are passing down the knowledge and moral of the story to their children, just as elders of the Salish-Pend d’Oreille people would do through their own oral traditions. If an educator was doing a lesson on traditional knowledge, this would create a deeper connection to the classroom material. Also, it would encourage students to develop their own literacy skills, while embracing culture. All in all, this resource is a solid tool for educators to use in the classroom. 

References 

First Nations Education Steering Committee & First Nations School Association (2016). Authentic First Peoples Resource. Retrieved from: http://www.fnesc.ca/wp/wp-content/uploads/2015/06/PUBLICATION-61502-updated-FNES C-Authentic-Resources-Guide-October-2016.pdf 

Archibald, Jo-Ann. Storyguide: Beginning the Journey. In: First Nations Journeys of Justice. Building Bridges of Understanding between Nations. 1994. Retrieved from: http://www.lawlessons.ca/sites/default/files/pdf/Journeys%20of%20Justice%20-%20Grade% 205.pdf 

Castellano, M. B. (2000). Updating Aboriginal traditions of knowledge. In G. J. S. Dei, B. L. Hall & D. G. Rosenberg (Eds.), Indigenous knowledges in global contexts: Multiple readings of our world (pp. 21-36). 

Confederated Salish and Kootenai Tribes. Beaver Steals Fire. A Salish Coyote Story. University of Nebraska Press. Lincoln and London. 2005.

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Wild Berries by Julie Flett

Randeep Dhillon, Pavneet Dhanoa, Manjot Minhas, Pravneet Roopra

“Wild Berries” by Julie Flett is a children’s book aimed at children aged 3 to 8. Julie Flett is Cree-Métis and currently lives in Vancouver, B.C. The book consists of a short story about the traditional wild blueberry harvest. It is written in English, yet also includes selected equivalent words in n-dialect Cree. The book includes beautiful illustrations that provide a serene visual context for the sentences on each page. This short story highlights the lesson of learning from elders, as a relationship between a young boy and his grandmother is depicted. The story also provides a lesson about interaction with animals, and the importance of sharing.

We chose this resource since it is written and illustrated by a reputable author who is of Métis descent herself. Julie Flett has received multiple writing awards including awards from Aboriginal organizations (Julie Flett, n.d.). The story is concise, and has embedded Cree language in the sentences which encourages readers to engage with the language due to the simplistic integration of it. It includes excellent illustrations that help narrate the story and also provides peaceful visuals of nature for the target audience. The imagery helps readers visualize the interaction with the various animals which are highlighted in the story. It helps the reader engage the mind and heart with the environment. Additionally, this book also includes a pronunciation guide and a glossary of Cree words. We found this to be very useful as the language is complex, especially for the target readers. There is also a blueberry jam recipe included at the end of the book which can be used for interactive activities in the classroom. This resource is easily accessible in various libraries. It can also be purchased online at multiple bookstores, for example it is readily available on Amazon: https://www.amazon.ca/Wild-Berries-Julie-Flett/dp/1897476892.

The story of “Wild Berries” seems to come from either the Cree or Métis nations (the book says the author is Cree-Métis).  According to many researchers, the Métis people are said to have both French and Aboriginal descent. (Ouelett & Hanson, 2009) The language for both Métis and the Cree are unique. As the book “Wild Berries” mentions before starting the story, there are several different and unique dialects of the Cree language. Each dialect has its own way of pronunciations, vocabulary and grammar use. The dialect that our group has read is known as “Swampy Cree” in N-dialect that originated from the Cumberland House area. Swampy Cree is also referred to as “Nēhinawēwin” as mentioned in the book. The author provides us with a pronunciation guide at the back of the book, as well as, some more information about the Cree language.

Respecting elders and learning from the older generations is something that many cultures value. In Indigenous cultures especially, this is something that is very much valued in the community. The raising of a child in these communities is not the sole responsibility of the parents, but it is an effort that the entire community makes as a group. In simpler terms, the community raises the children. Elders plays the role of providing knowledge, and sharing their wisdom among the younger generations. Their significant role is to share their stories and past experiences in order to preserve culture and to help the younger make decisions. (“The Elders”, 1996) This book puts emphasis on that strong connection between children and their elders. Just like Clarence in the story, there are many lessons that children can learn from spending quality time with their grandparents and elders in the community. The grandmother in the story teaches Clarence songs, how to be alert for bears and also how to pick nice berries. In addition, it teaches children how to be respectful of their elders and the animals in the forest. In many Indigenous communities the relationship between the young and the elderly is something that is crucial to the children's learning and development within the Indigenous community.

In addition to bringing emphasis to the role of elders in the community, the role of nature and land in learning is also covered in the book. This is represented in the book in various ways. The story’s setting is in a forest, which is a large indicator of nature in the story. Clarence's’ journey involves picking berries and interacting with the wildlife in a peaceful and respectful manner. Many Indigenous cultures believe in giving back to the environment whenever possible because their lives are structured around what the land had to offer. This is reflected in the book when Clarence shares his blueberries with the animals in the forest. Giving back to the land has always been significant to Indigenous cultures.

Since this resource could potentially be used for education purposes, it is important to discuss the benefits and challenges of using this book. “Wild Berries” is an easy read, and is a reputable resource to provide a glimpse into the Indigenous peoples’ lifestyle. Julie Flett is of Cree-Métis (as stated at the back of the book) descent herself, and is an award-winning writer and illustrator. In fact, Julie received the Aboriginal Literature award in 2014 (Julie Flett, n.d.). Apart from being written by an accredited author, “Wild Berries” offers valuable educational and Indigenous knowledge. The story of Clarence picking berries with his grandma, portrays a positive relationship between two separate generations. The story displays positive experiences such as giving back to the land which is illustrated by Clarence giving some of his berries to the animals in the woods when his bucket was full. The book shows a variety of animals living in the woods, and portrays a loving and caring relationship between humans and animals. Such display of affection between different organisms and the land itself allows young children to learn important lessons of life through a fun and interactive way. The book includes Cree words in the colour red following the English word on the page which brings a nice touch of contrast to the pages while spreading knowledge of the Cree language. The book has a calming effect, especially visually because the landscape is illustrated as a clean and open space, and the white space on the pages also adds to the neatness.  The story is easy to read, understand, and explain to young children so, there is a lot to gain from this book.

There are some challenges to using this resource in a teaching or general setting. One critical point is that the writer does not explain the cultural-specific use of wild berry jam recipe provided at the end of the book.  The recipe looks great, but there is no context provided. It is uncertain whether the Cree people use this recipe regularly in their daily lives, or whether it was something that was made on special occasions. Also, it is not stated if the Cree people themselves use that recipe. If the author had provided some background information about the origin of the recipe and its use for Indigenous people, it would have been more beneficial for the recipe to be included. The ambiguity of the recipe could lead to inappropriate use of Indigenous knowledge and culture so, it’s important for both teachers and parents to have such information before passing it on to the younger generations. Another challenge of using this resource is that it is not directly connected to local Indigenous territories in the lower mainland since Cree is not a language of Indigenous communities in British Columbia. This point may make the book less relevant to students in B.C.

“Wild Berries” is a great resource to use in a classroom setting for younger children, since it can be used for a target audience of 3-6 years old. This can be read by the teacher to children or it can be read by children on their own. There are many pictures with limited text, making it suitable for both situations. However, it would be best if children are reading this book with a parent or teacher as it would aid them in learning the lessons of the novel that are not explicitly stated. As mentioned previously, for example, Clarence picks berries for himself, however when his bucket is full he offers berries back to the birds. This symbolizes the importance of sharing with others, and can be further enforced when children read with someone guiding them. If an older audience is the targeted audience of the book then it is possible to engage them further. They can be asked to read the book and do an assignment that involves thinking critically about the resource in terms of its importance to Indigenous culture. In this way it is possible to encourage them to think about the meaning behind the book such as lessons about family, environment, and sharing. Therefore, even if the resource is used to target an audience that is more than capable of reading the content, it can still be engaging as it has a lot of teachings to offer.

Another important aspect of this book that can be used in a classroom setting is the jam recipe provided at the end of the book. This recipe can be introduced by the teacher so that the students can go home and make the jam with their parents, or the teacher can prepare it and bring it in for the students. It could also be helpful to send the recipe out to parents and encourage them to bring it in to share with the class. This allows more engagement with the book because the children are able to perform an activity related to the story. Reading the story before introducing this activity can encourage them to go home and use this recipe which will make them more likely to remember this story and its lessons in the future. The book also contains words translated from English into n-dialect Cree. These words are introduced to the children through the book, however it is also possible to assign the children an activity or assignment that encourages them to actively learn the words. This would make it possible to learn the language for the children. When doing so it is important to make sure that the words are pronounced correctly, hence the teacher would be required to learn the correct pronunciation from the guide provided in the book and even use other resources to teach the children these words accurately. This could be a challenge for a non-indigenous teacher, but it would be beneficial to find a video online or bring in an Elder to help children learn the words correctly.

Overall, Wild Berries is an appropriate and beneficial book to use as an educational resource. The story portrays important life lessons, such as sharing, caring, respectful relationships with the elderly, and living in harmony with nature, all of which are key to Indigenous peoples’ culture. This resource is able to engage a wide variety of audiences, while also offering knowledge of the Indigenous culture and its values. Since the resource has the capability of offering numerous benefits to an educational setting, we believe that it would be valuable and rewarding for the children, parents, teachers, and communities involved.

 References

The Elders. (1996).  Retrieved from http://www.creeculture.ca/content/elders

Flett, J. (2013). Wild Berries. (n.p): Simply Read Books.

Julie Flett. (n.d.). About. Retrieved from http://julieflett.com/about

Ouellet R. & Hanson E. (2009). Métis. Retrieved from http://indigenousfoundations.web.arts.ubc.ca/metis/

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“Wild Eggs: A Tale of Arctic Egg Collecting” by Suzie Napayok-Short

Sarah Savić Kallesøe, Jiafu Jiang, Kye Fedor, Xinyu (Billy) Chen

Napayok-Short, S. (2015). [Cover of "Wild Eggs: A Tale of Arctic Egg Collecting"].

Resource Description, Author Credibility, and Access

“Wild Eggs: A Tale of Arctic Egg Collecting” is a children’s story which focuses on the modern-day challenge of Indigenous youth connecting to their ancestors. Akuluk, the protagonist, is a young girl living in a Canadian city who is sent to her grandparents in Nunavut for the summer vacation. But Akuluk is not interested in visiting Nunavut and would rather visit her friends. With the guidance of her grandparents, she soon learns the Arctic to be an exciting place and experiences the Inuit language, culture, and traditional food. Akuluk’s grandfather introduces her to wild duck egg collecting, which soon becomes a passion of hers. As Akuluk’s grandparents teach her about their traditional lifestyle, Akuluk creates deeper connections with her grandparents and her ancestral roots. Initially, Akuluk is reluctant to visit Nunavut, but through her grandparents’ teachings, she develops an appreciation and interest in her Indigenous roots.

Our team chose to examine “Wild Eggs” because its theme of cultural reconnection reflects a common challenge faced by urban Indigenous Canadian youth today. This story is also an excellent introduction for students to the modern-day lifestyle of Inuit-Canadians, the Inuktitut language, and the fundamental Indigenous values of sustainable harvesting and transgenerational learning. Basic words of the Inuit language, Inuktitut, are discussed in the story and a pronunciation guide is included near the end. We find these tools to be especially helpful for educators and students without previous experience with Inuktitut and are wanting to learn. Accompanied by detailed illustrations and introductory-level language, Akuluk’s journey to understanding her ancestry is appropriate for elementary-aged children. The publisher, Inhabit Media, recommends this story for readers between 5 and 7 years old. We believe this resource to be a valuable tool for educators to introduce the Inuit culture and the challenges of cultural preservation among Indigenous-Canadian youth.

Through our evaluation, we find this resource to be an appropriate representation of the Inuit culture in Nunavut based on the credibility of the author, illustrator, and publisher. The author, Suzie Napayok-Short, was born and raised in Iqaluit, Nunavut. Napayok-Short attended residential school during her childhood and identifies herself with Inuit ancestry. She currently works as an Inuktitut translator and interpreter for government departments across the Northwest Territories, Nunavut, and Canada. In addition to her government work, Napayok-Short also aids residential school survivors through legal processes. The inspiration for the fictional story "Wild Eggs” was based on egg-hunting trips with her father during her childhood. The illustrator, Jonathan Wright, currently resides in Iqaluit, Nunavut and has illustrated for a variety of newspaper, magazines, and books, specifically focusing on creating artwork for Indigenous stories. His illustrations in the tale of “Ava and the Little Folk” by Alan Neal and Louise Flaherty was shortlisted for the 2014 Silver Birch Express Award. Lastly, the publisher, Inhabit Media, is an Inuit owned company and currently the only publisher based in the Canadian Arctic. Inhabit Media’s vision is to voice the authentic traditional stories of the Inuit peoples and support Arctic Indigenous authors. Beyond their publishing responsibilities, Inhabit Media also works alongside governments and nonprofit organizations to strengthen and preserve the Inuit language. Based on the credibility and working histories of Suzie Napayok-Short, Jonathon Wright, and Inhabit Media, our team believes “Wild Eggs” to be a reputable Indigenous-based resource for educators. This story can be publicly accessed from the Simon Fraser University, University of British Columbia, City of Vancouver, and City of Surrey libraries. The APA citation is as follows:

Napayok–Short, S. (2015). Wild Eggs: a tale of Arctic Egg Collecting. Iqaluit, NU: Inhabit Media Inc.  English version ISBN: 978-1-77227-025-9

This story is also available in Inuktitut. ISBN: 978-1-77227-036-5

Indigenous Content

“Wild Eggs” is a story full of rich information and content told from the perspective of an urban indigenous youth connecting to her roots. This story speaks to language-related knowledge, transgenerational teachings, and respect for the land. Indirectly, it teaches the reader about the biodiversity of life in the tundra, customary clothing, and local food gathering. The grandfather embraces the role of an elder by sharing his knowledge of the Inuit language, sustainable harvesting, and traditional food preparation to Akuluk. He is the story’s figurehead of knowledge and learning, teaching us the fundamental Inuit values. The role of introducing Inuktitut words within the story is to reflect the core values of  Inuit culture. A key Inuktitut word introduced by the Grandfather is Piusituqattini, which speaks to the notion of taking only what is needed from the land, in other words, sustainable gathering. While egg collecting, Grandfather explains the concept of Piusitqattini to Akuluk, stating that nests with more than four eggs should not be disturbed because if a mother bird notices one of her eggs are missing, she will abandon the nest. He further explains that if too many nests are disturbed then the future generation of birds would be at risk of dwindling, resulting in fewer eggs for the future children to pick. The role of language helps the reader become familiar with the Inuit culture, as well as encourages the reader to conceptualize Inuit values like Piusitqattini. Grandfather’s teachings of traditional Inuit lifestyle and Inuktitut words, such as Piusitqattini, educate the reader to be considerate of the beings we share our resources with. The repetitive use of Inuktitut language acquaints the readers with certain Inuit values and acts as a source for children and readers to share their growing knowledge of Inuktitut with their peers. Additionally, Grandfather’s teachings about culture, such as traditional foods and clothing, play an important role in “Wild Eggs” of introducingreaders to the tundra environment and the modern-day Inuit way of life. An example of culture's role in “Wild Eggs” is Akuluk’s grandparents explaining the value of her parka, which is made of muskrat, wolf and wolverine fur. The grandparents continue by describing the animal diversity of the tundra and the important role that the parka plays in Inuit culture. As the Grandfather explains, the parka has a purpose of preventing bugs from bothering us and it keeps the body very warm in the cold Arctic weather. The parka allows people to hunt, gather, and perform daily life activities outside without freezing or being swarmed by bugs. This description of the parka gives readers insight of the activities and needs of the Inuit people which can be accomplished while wearing a parka, such as collecting eggs and hunting. The story, “Wild Eggs” eloquently provides young readers an introduction to the tundra environment and the traditional Inuit values. The inclusion of language-based teachings by the elders in “Wild Eggs” acquaint the reader with the tundra environment, elder to youth transgenerational sharing, and the rich culture of the Inuit peoples.

Advantages and Challenges of this Resource:

While this storybook is only thirty-three pages long, the content provides a vast number of opportunities for educators to introduce the Inuit culture in their classroom. This resource is advantageous in that it includes basic Inuktitut words and concepts surrounding the themes of family ties, love, traditional customs, and the people’s relationship to the land. Weaving Inuktitut words into the story emphasize the values of the Inuit culture. Since most readers are likely not familiar with Inuktitut, learning the native tongue may make the concept of the Inuit culture more tangible and relatable to students. However, some educators may hesitate to use this book as some Inuktitut words may be difficult to pronounce. For this, the author included a pronunciation guide of all the mentioned Inuktitut words, making it easier for readers to connect with the language. The credibility of the author and illustrator prove to be another benefit of this resource. As mentioned earlier, Suzie Napayok-Short and Jonathan Wright both resided in Iqaluit, indicating that the story content and artwork were inspired by the lived experience of Nunavut rather than imagination. This provides a rich description of the Nunavut geography, traditional customs, and animal diversity, helping readers connect to the characters and the setting. This proves especially useful for classroom education as most readers will not likely have their own experiences of the North to refer to. Many educators are careful in selecting content to present to their class, especially with Indigenous related stories as many often misrepresent the culture. Fortunately, the credibility and Indigenous experience of this book’s author, illustrator, and publishing company provide a reason to believe that the content was researched and verified before publication. Knowing this, educators may feel comfortable that they are appropriately representing the Inuit culture even if they do not have any direct experience with the culture.

This resource offers many advantages, but there are a few limitations. Firstly, as this story speaks to Inuit tradition, it appropriately takes place in Canada’s north. However, many students, especially the younger grades, may find it difficult to relate to Nunavut’s setting since it is a rather remote region of Canada. To help students connect to the setting, the instructor may consider teaching about how the Arctic’s geography is vastly different from the students’ hometown. This could include topics such as the native vegetation, seasonal changes, and animal diversity. By drawing attention to the new context, the students may find it easier to envision and relate to Akuluk’s story. Secondly, while the story setting is explicitly stated to be in Nunavut, a region or town is not mentioned. Knowing the specific town may allow educators to show the students where the story takes place using a map, rather than referring to the whole territory of Nunavut. However, this limitation does not discredit or outweigh the benefits of this resource. Finally, the publisher, Inhabit Media, recommends this story is suitable for the 5 to 7 years age range. However, our team believes the length of the passages may be slightly difficult for this age category. Fortunately, this can be addressed at the discretion of the educator.  

Applications to Teaching:

The message conveyed by this storybook opens the door to a necessary discussion of the cultural conflict faced by urban Indigenous youth in Canada. Akuluk’s story speaks to a unique challenge faced by Indigenous youth today, which is deciding how prominent of a role their ancestral culture will play in their modern-day life. The intense and prolonged genocide make this issue distinctive to the Indigenous peoples of Canada. As a result, youth may feel detached from their Indigenous roots and be at a loss as to how they can reconnect or if they even should. Akuluk’s story is an excellent introduction to an elementary level discussion of how Indigenous youth may feel distant from their heritage. After reading or listening to Akuluk’s story, the instructor may open a discussion by asking the students some of the following questions: “Why do you think Akuluk was living so far away from her grandparents?”, “Do you think Akuluk would have learned about her ancestor’s lifestyle, like egg collecting, in her school the same way her grandfather taught her?”, or “Why do you think Akuluk did not want to go to Nunavut?”. These questions may begin the discussion of why some Indigenous youth may feel disconnected from their heritage.

After opening the discussion of the challenges faced by urban Indigenous youth, presenting a lived example may help students understand the magnitude of these issues. Our team suggests the story of Autumn Peltier, a 13-year-old Indigenous-Ontarian fighting for access to clean water within the Canadian First Nation communities and across the world. Autumn comes from the Wikwemikong First Nation and has been advocating for clean water since she was 8-years-old. She has been named a water protector and has been nominated for the International Children’s Peace Prize. In a country where clean water is an assumed right, it is absurd to hear that many still live without potable water, and a majority of that burden is shouldered by the Indigenous communities. Her advocacy for sustainable access to clean water closely aligns to an Inuktitut concept Akuluk is introduced to by her grandparents: Piusitqattini, the act of taking only what you need from the land so other species and future generations can flourish. Autumn’s lived story and the fictional story of Akuluk exemplify the challenges faced by present-day Indigenous youth and the Indigenous values of transgenerational sharing and sustainable living. Our team believes these two Canadian-based stories are viable tools for educators seeking to open a classroom discussion and further the understanding of the challenges faced by Canadian Indigenous youth.

The following are links to just some of the news story of Autumn Peltier. Please refer to the “References” section for full APA citation.

www.cbc.ca/news2/interactives/i-am-indigenous-2017/peltier.html

www.theindigenousamericans.com/2017/10/11/13-year-old-indigenous-girl-nominated-global-peace-prize/

www.cbc.ca/2017/meet-autumn-peltier-the-12-year-old-girl-who-speaks-for-water-1.4168277

Sapurji, S., Karapita, M., & Alex, C. (2017, June 21). [Autumn Peltier]. Retrieved November 1, 2017, from http://www.cbc.ca/news2/interactives/i-am-indigenous-2017/peltier.html

 References

CBC News. (2017, June 20). Meet Autumn Peltier - the 12-year-old girl who speaks for water | CBC Canada 2017. Retrieved October 30, 2017, from www.cbc.ca/2017/meet-autumn-peltier-the-12-year-old-girl-who-speaks-for-water-1.4168277

Napayok–Short, S. (2015). Wild Eggs: a tale of Arctic Egg Collecting. Iqaluit, NU: Inhabit Media Inc.  English version ISBN: 978-1-77227-025-9

Sapurji, S., Karapita, M., & Alex, C. (2017). Autumn Peltier. Retrieved October 30, 2017, from http://www.cbc.ca/news2/interactives/i-am-indigenous-2017/peltier.html

The Indigenous Americans. (2017, October 11). This 13-Year-Old Indigenous Girl Has Been Nominated for a Global Peace Prize. Retrieved October 30, 2017, from http://www.theindigenousamericans.com/2017/10/11/13-year-old-indigenous-girl-nominated-global-peace-prize/

[ourcommonbowl-blog]

How the Eagle Got His White Head

Holli Lang, Joyti Gill, Pavin Rana, Lucy Marshall, and Jennifer Wijaya

The text that our group has chosen to review on is How the Eagle Got His White Head, written by Jane Chartrand and illustrated by Zaawaazit Mkwa Tsun. The small picture book opens with a grandmother, referred to as Nokomis, and her grandson Heyden. Nokomis tells Heyden the story of how the Eagle, named by the creator as the leader of the birds, got his white head. In the story, white Eagle ruled the skies whereas Bear was the leader of all the creatures on earth.  As the years went by, there grew to be too many birds in the sky and animals on the earth, and there was not enough food to eat. It was decided that Eagle would fly to find the Creator and ask for help.  However, a long time passed and Eagle did not return. The other birds and animals became cranky and discussed choosing a new leader.  All except Hummingbird who remained loyal and held faith that Eagle would return as he said he would.  Eventually, Eagle did return, exhausted and hungry, and everyone but Hummingbird was too ashamed of themselves to greet him. Eventually, everyone came to hear what Eagle had to say, and Eagle told them that the Creator had prepared a new home for them. Hence, the creatures of the land and sky prepared to leave, storing all but the most necessary of supplies in a cave for anyone who arrived to inhabit their land after them. Because Eagle had worked so hard and never given up, despite suffering hunger and exhaustion, the Creator gave him his white crown. Because Hummingbird was so loyal, he too got a reward, a shining ruby of feathers on his chest.  

We chose this book as a positive resource to bring into classrooms because of its clear legitimacy as a source of Indigenous storytelling knowledge. The author, Jane Chartrand, is a woman of Métis and Algonquin ancestry from the same community the story comes from.  Indeed, she heard this story and many others from her grandmother growing up.  The illustrator, Zaawaazit Mkwa Tsun, is an Algonquin man from the same city as the author. Even the publisher, Pemmican Publications Inc. is committed to publishing Indigenous owned and created content, so we can be sure that profits from this book are returning to Métis and Aboriginal communities.  Further, this book is purely about Aboriginal cultures and histories, illustrating a thriving society without the presence of European settlers.  

Based on our observations, the story of How the Eagle Got His White Head showcases the importance of Indigenous oral tradition. As the grandmother passes on the story to her grandson, it exhibits how Indigenous cultures values knowledge as the greatest gift. Additionally, the grandmother telling the story to her grandson depicts how the grandmother is shown to hold the knowledge and is responsible for ensuring that the knowledge is passed down to the following generations. Values of trust, loyalty, hard work, perseverance and leadership in the Indigenous cultures are displayed throughout the story. The Eagle was willing to work hard, trudged through hunger and exhaustion, and made sacrifices for the sake other creatures. If the Eagle had not shown good leadership skills, he would not have earned the trust of the other beings nor the rewarding of his white crown. A good leader follows through with his or her promises very much like the Eagle did. Moreover, the story focuses on the bond between the sky and land creatures. It is through their work of collaboration that both creatures were able to obtain a new habitat. With that said, it is important that we maintain a positive and collaborative relationship with one another.  As individuals, we ought to work together and coexist in harmony in spite of our differences in cultural or social background. Lastly, nearing the end of the story, the eagle and the land creatures left behind resources for anyone who came after them. This interpretation is a profound aspect of the Indigenous communities because they want to leave behind resources for seven generations to come. In that sense, it is important that as generations of the present, we ought to not be greedy but, more so take care of one another and the land we all inhabit.

As Algonquian peoples themselves, author Jane Chartrand and illustrator Zaawaazit Mkwa Tsun, give readers a rich insight into the Algonquin people’s customs, values, and beliefs. The two main characters Heyden and Nokomis are introduced to readers as members of the Algonquin community. It is presumed that their community resides in the areas of Madawaska River in Northern Ontario due to the dwelling of the main characters. As depicted in the story, the oral traditions in Aboriginal cultures hold a great magnitude to the generations below. Elders like Niska share the knowledge that revolves around the history, lessons, and stories that are valuable to the community. Evidently, the oral traditions in Aboriginal cultures foster a strong connection between the past, present, and future of the nation. In stories such as How the Eagle Got His White Head, it becomes a mean of education for the young generation into having virtues such as the eagle and the hummingbird. 

Upon reading How the Eagle Got His White Head, the text represented several benefits that could be resourceful and memorable to introducing Aboriginal cultures within classrooms. Readers are encouraged to observe and delve into the experience of an oral tradition, which is at the center of Aboriginal teachings and culturs. The story’s premise is based on a grandmother passing on teachings to her grandson, Heyden. Incorporating this source into our own classrooms would provide an exceptional example of the passing down of values from elders to the next generation. The oral traditions in Aboriginal cultures share stories with significant meaning and teach the next generation about principles that Aboriginal people hold dear. In this case, loyalty, leadership, collaboration, and collective living are at the forefront of the story. The concept of “We” rather than “I” is a large theme in the story to reinforce collectivism and push against the mainstream individualistic attitude. These benefits of the story help readers to appreciate, learn, and experience the oral tradition of Indigenous cultures.

The main challenge we foresee with How the Eagle Got His White Head was the length of text in the story. Using this with elementary school students may become a challenge as the need to gain and retain the attention of young children due to the story’s elongated and intricate words. The lack of attention would cause the messages, teaching, and values in the story to be overseen. Therefore, the children would not be engaged in the story in a meaningful and positive way. However, our group has considered some ways to overcome these obstacles. Firstly, the parts in the story in which the grandmother interrupts the story of the Eagle to speak with her grandson is an opportunity stop and check in with the children. These moments come up multiple times in the story and can provide a moment to re-engage the students by ensuring they are following along and accurately understanding the significance of the characters and themes in the story. In addition, the story would be shown with the pictures to provide a visual for the students to interact with and try to maintain the attention of the children. Through these re-engaging techniques, the major obstacles of the lengthy and wordiness of this story. Overcoming these obstacles and challenges can keep this story as a meaningful piece that children can connect with.

This book would be an ideal resource to use with elementary school children around the ages of kindergarten up to grades 4 or 5. It provides a good introduction to Aboriginal cultures through the means of storytelling which, in itself, is a main educational practice used within indigenous communities to preserve information and teach lessons. The story could be enhanced further through the use of props such as puppets and pictures to bring the story to life. Storybooks in general, are an exciting and engaging way to introduce new topics to younger students. This book, in particular, would provide a good basis for a History unit or First Nations topic. When using this book as an educational resource, students should understand where the story originates. This provides a platform on which to investigate the history and cultures of the Algonquin peoples and this can be used to prompt further discussion about Aboriginal cultures as a whole. From here, the teacher could structure future lessons and discussions around the topic of colonialism.

In addition, its key themes of leadership, perseverance, trust, loyalty, and respect along with the main message that hard work will be rewarded make it a great book to study as a Literacy topic. Character studies, for example, would allow students to compare and contrast the characters’ attributes and qualities, such as that of Hummingbird who remained faithful that Eagle would return. Structured class discussions and activities on these characters can also promote students’ moral development by encouraging them to consider positive attitudes that contribute to healthy and supportive relationships within their community, and indeed within the greater society. The theme of peaceful cohabitation within the story can also be used as a tool for teaching about respect, tolerance, and acceptance in a diverse and multicultural society such as that of Canada.

To summarize, How the Eagle Got His White Head by Jane Chartrand is a traditional Aboriginal tale from the Algonquin community. The story advocates values such as leadership, perseverance, and respect which are all highly valued within Indigenous cultures. Given that the author, illustrator, and publisher are all members of the Algonquin community, this book is a legitimate, unbiased and accurate resource and suitable for classroom practice. Its themes and values are true to the culture in which it is rooted which makes it an ideal resource to introduce young children to Aboriginal heritage and can be used in the teaching of several areas across the curriculum including history and literacy.     

References:

Chartrand, J., & Tsun, Z. (2002). How the Eagle Got His White Head / written by Jane Chartrand ; illustrated by Zaawaazit Mkwa Tsun.(Chartrand, Jane, 1945- Birchbark series ; 1), Pemmican Publications Inc.

[ourcommonbowl-blog]

We Were Children: A Critical Analysis

Josephine Chiang, Michelle Carney, Neil Dawe, John Lieu and Bryan Yu Hei Leung

Description and Rationale

We Were Children is a documentary that is directed by Tim Wolochatiuk and written by Jason Shearman, which is about two Indian Residential School survivors’ experiences. The film demonstrates how residential schools attempted to kill native culture by taking children away from their traditional lands and lifeways. Lisa Meeches, one of the executive producers of the film, was inspired to share the story of residential school survivors as her parents and older siblings were sent to similar residential schools. She believed that the history of residential schools should be shared with everyone so history is not repeated and Indigenous people can begin to heal. Learning about residential schools is important as it provides context for the intergenerational harm Indigenous people have sustained. This an important rationale for selecting this resource. The movie focused on the stories of Lyna Hart and Glen Anaquod; and can be rented through National Film Board of Canada. Hearing the hard truth about Indian Residential Schools directly from a survivor personalizes what happened more leading it to be more impactful than many books on this topic. The film not only has touching interviews with Hart and Anaquod but also depicts the rampant physical, sexual, and psychological abuse in the school. Interestingly, not all the nuns and priests treated the children in a bad way, some of them helped the kids. In the movie, for example, a sister took the kids to the dining room during midnight and provided food for them, so they did not have to starve. Overall, this movie gives a complex and personal look into what residential schools were really like.

Roles of Indigenous Knowledge

Lisa Meeches, from the Long Plain First Nation, and co-producer, Kyle Irving, interviewed over seven hundred residential school survivors over a period of seven years. During these interviews, they were inspired to create a film that would educate Canadians on the history of government-run residential schools. Alongside educating settlers, Meeches hoped this film would be inspiring for Indigenous people and give them hope for the future of their culture.

The film, We Were Children  recognizes the perspectives of two government-run residential school survivors; Lyna Hart’s experience in the Guy Hill Residential School, located in Manitoba and Glen Anaquod’s experience in the Lebret Indian Residential School in Saskatchewan. In the film Hart, from the Nisichawayasihk Cree Nation, and Anaquod, from the Muscowpetung First Nation, share their personal account of how Indigenous knowledge has been taken away by residential schools in a concerted effort to “kill the Indian in child” (Truth and Reconcilation Commision of Canada, 2015). For example, the movie reenacts how the children were punished severely for speaking their own language and practicing native traditions. Furthermore, during schooling, teachers ridiculed Indigenous culture and called Indigenous children savages. These sentiments show how residential schools were an attempted cultural genocide of Indigenous knowledge and lifeways. The film comes from an Indigenous perspective with Hart and Anaquod demonstrating their resilience. Even during some of the most devastating scenes, such as when assimilation techniques were forced upon them, Hart, Anaquod and other Indigenous children were determined to preserve their native identity. The personal stories give a snapshot of the cultural genocide that occurred on Canadian soil. Seeing this could be a tool in de-colonizing in an educational setting.

Benefits and Challenges

A benefit of this film was that it shone light onto what happened behind closed doors in many residential schools and the effects that still linger within the survivors today. Many individuals in Canada are still unaware of the truth about residential schools so this documentary provided some clarity into the disturbing stories told from two perspectives. The film was made more authentic and touching due to the fact that it is told from the survivors themselves; Hart and Anaquod. It is apparent in the film that, during that period, children experienced hardships when struggling to learn English and French, and getting abused and neglected by the priests and nuns. This resource allows viewers to gain insight into the misunderstood, and largely unknown, history of government-run residential schools in Canada. While providing Canadians with a sense of awareness regarding the history of the residential school system, this film hopes to inspire Indigenous people to continue to be resilient and preserve their culture. Another benefit of this movie was that it showed some positive moments that Hart and Anaquod experienced which made it more real as it illustrates to the audience that not all the staff had malicious intent and that some genuinely cared for the students. This pertains to all institutions as there are good and bad individuals in all aspects of life. Furthermore, this film intends to help Indigenous people and settlers by acknowledging injustices of the past which is one of the first steps toward reconciliation.

There are challenges within this resource such as; a restricted age group and a small sample size. The resource can only be used for older students (fifteen years and older), since it is extremely emotionally draining and deals with mature subject matter. This film could trigger negative emotions and reactions in some students as it relies on emotion as a vehicle for education. It is important that the instructor makes it clear that if a student finds the material too overwhelming, they can choose to leave the classroom. Another challenge of this resource was that the story is told from only two perspectives which is a small sample size, considering the thousands of students who attended residential schools. Every student experienced their own oppressions and hardships while pushing through these years of their lives and the film only displayed that through two individuals. It would be beneficial to hear multiple perspectives from survivors of government-run residential schools.

Future Teaching Application

Due to the mature subject matter present in this film, it is most appropriate for students who are fifteen years or older. Since this is a heavy and emotional film, it is important that it is followed up with the opportunity for reflection and action. This film should be used as a springboard for conversation to discuss how knowledge of the past can help give settler communities an understanding of the needs of Indigenous communities allowing both sides to create trusting relationships along the journey reconciliation.

After watching the film, students will have a few minutes to silently reflect on the film. Then, students will form a sharing circle where they will be given the opportunity to share their initial thoughts as well as how their assumptions about residential schools were challenged or reproduced. Once everyone has had the opportunity to share their thoughts, they will be divided up into four groups. Each group will be assigned to one whiteboard with a question in the centre for them to answer. The first whiteboard will have the question: “Do you feel you had a well-rounded and accurate understanding of residential schools before watching this film? What new insights did you gain?”. The second question will be: “What are some long term effects of residential schools in terms of cultural preservation and history?”. The third question will be: “How has your newfound knowledge impacted your how you will approach reconciliation between Indigenous cultures and settler communities?”. On the fourth board, students will be asked to “write down a personal action or pledge to your pledge to help promote reconciliation between Indigenous and settler communities”. Students will be encouraged to discuss the question in their group and write their answers in point form next to the question. Every five to ten minutes, the groups will rotate until every group has had the opportunity to answer each question. To complete the activity, students will regroup in a sharing circle where they share one take-away from the experience, share their pledge with the class and add any closing remarks. During this time, teachers should encourage students to take part in a self-care activity, such as going for a walk, to decompress and gather their thoughts. Additionally, before the end of class, teachers should provide information for the students to contact a counsellor or an appropriate help line. This will be helpful to the students if any of them feel triggered by the movie due to it’s emotional content.

References:

Cole, Y. (2016, May 8). VIFF 2012: We Were Children depicts residential school stories. Retrieved November 03, 2017, from https://www.straight.com/movies/viff-2012-we-were-children-depicts-residential-school-stories

Maxwell, J. (201, August 26). Documentary on residential schools shoots in Portage. Retrieved November 03, 2017, from http://www.portagedailygraphic.com/2011/08/25/documentary-on-residential-schools-shoots-in-portage

Sison, M. (2012, September 26). Film tells stories of residential school survivors. Retrieved October 28, 2017, from   http://www.anglicanjournal.com/articles/film-tells-stories-of-residential-school-survivors-11191

Wolochatiuk, T. (Director). (2012, October 2). We were children = Nous nétions que des enfants [Video file]. Retrieved October 27, 2017, from https://www.nfb.ca/film/we_were_children/

Truth Reconciliation Commission of Canada, & Truth Reconciliation Canada. (2015). Final report of the Truth and Reconciliation Commission of Canada. Volume one, Summary: Honouring the truth, reconciling for the future. (Second printing]. ed.).

[ourcommonbowl-blog]

The Secret Path

Avery Tiplady, Pawan Parhar, Breanna Croxen, Fardin Gadjyev, Jackson Yung

Clan Name:

Maawanji'idiwag (Come Together). This clan name was chosen from the Ojibwe peoples as it represents Chanie’s descent. Maawanji'idiwag symbolizes the need for everyone to listen to each others stories and work together to help avoid eliminating Indigenous culture.

Introduction to The Secret Path:

Following the tradition of the Nisga’a people, our group has chosen to share “The Secret Path” (a visual album by Gord Downie) for “Our Common Bowl” exercise. “The Secret Path” is a musical and animated adaptation of the unfortunate story of Chanie Wenjak, an Anishinaabe boy who died in an attempt to return back to his home from a residential school near Kenora, Ontario. Before the creation of “The Secret Path”, the original story of Chanie was featured in an early edition of Maclean’s magazine. Ian Adams article displays multiple issues regarding Indigenous culture. The term “Indian” is often used throughout the article, but in a derogatory context. Furthermore, alcoholism is labelled as an “Indian Problem”. Ultimately, the article offers Western Colonial ideals as a solution for Residential Schooling. The narrow minded, isolationist diction throughout the article shows the continued lack of empathy towards Indigenous cultures. In Adams’ article, Chanie’s name was spelt Charlie, which also speaks to an utter disregard for the life and the turmoil he suffered. “The Secret Path” provides a more critical, and respectful narration of Chanie’s life, humanizing him rather than the slight victim blaming that is present in the Maclean’s story that originally introduced the Canadian public to Chanie’s story.When Gord Downie learned about the story of Chanie, and  decided to dedicate his art and privilege (as a white man, and lead singer of one of Canada’s most prolific rock bands, The Tragically Hip) to bring awareness to Chanie’s story, he created it with a quote from Murray Sinclair in mind:

“This is not an aboriginal problem. This is a Canadian problem. Because at the same time that aboriginal people were being demeaned in the schools and their culture and language were being taken away from them and they were being told that they were inferior, they were pagans, that they were heathens and savages and that they were unworthy of being respected — that very same message was being given to the non-aboriginal children in the public schools as well…They need to know that history includes them.” (Murray Sinclair, Ottawa Citizen, May 24, 2015)

We preface our blog post by clearly stating that this is not a traditional Anishinaabe story. In part of that fact, our rationale for choosing this resource, in spite of it being created by a non-Indigenous person, was that it does create an interesting opportunity for non-Indigenous educators and students to examine ways in which non-Indigenous individuals have an onus to spread and keep alive stories of hardship and overt and explicit discrimination of people through art, literature, and discussions etc. With correct knowledge and awareness to the benefits and challenges of this resource, our clan believes that this visual aid can be helpful to educators.

The Role of Indigenous Knowledge’s, Content or Perspectives:

Although the mediums of “Secret Path” through graphic novel visuals and rock-esque genre of audio elements, cater to a very mainstream non-Indigenous audience, the project is centralized around the perspectives, content, and knowledge of Indigenous people. Downie’s work aims to educate the public on reconciliation through raising awareness on the reality of Canadian residential schooling for a contemporary non-Indigenous audience through highlighting Chanie’s tragic experience at Cecilia Jeffrey Indian Residential School in 1966. In “6. Secret Path”, the sixth track on the album that our clan focused on, the audience is given the third person Indigenous perspective of Chanie walking down a path of train tracks, through freezing temperature and under pouring rain with a light windbreaker, trying to find his way back to his real home, and eventually succumbing to eventual hunger and exposure of the freezing elements, through Jeff Lemire’s (a non-Indigenous Canadian artist and cartoonist) animated graphic novel visual depictions, narrated by Downie’s vocals. Chanie’s perspective provides the audience a glimpse into what he endured in his experiences in these residential schools, and the kind of unfairness that the whole Indigenous culture had to endured. Downie’s reiteration of Chanie’s story also highlight the fact that there were many other victims just like Chanie who suffered from the same, if not worse fates as him, and that this part of our Canadian history should never been forgotten or ignored. In Jeff Lemire’s statement on the “Secret Path” website, he admits, “I never learned about Chanie Wenjack or about any of the tens of thousands of other Indigenous children like him who were part of Canada’s residential school system. This is such a massive part of our country’s history, yet our schools didn’t teach us about it. Why?” (Lemire, 2016). This genuine admission of past ignorance and the present fact that he helped create such a powerful medium of reconciliation as a non-Indigenous person, signifies that cultures can be bridged through dialogue and understanding, and past ignorance can be easily turned into knowledge, if presented the opportunity and inclination to do so. Downie’s work helps disseminate Indigenous knowledge and content towards younger audiences who may not be previously aware of past Indigenous history, through relatable and easier digestible mediums of discourse.

Regarding the genealogy in the transfer of Indigenous knowledge to people and place within “Secret Path”, both Chanie’s sisters, Pearl Wenjack and Daisy Wenjack were active consultants and advisors to Downie’s project in raising awareness and preserving real Canadian history, and they are shown repeatedly throughout the visual album. The knowledge exuded from Downie’s project is passed on to a non-Indigenous audience from all parts of the world, which then returns to the Indigenous Community as a reciprocated sense of understanding. These communities further benefit, because according to the “Secret Path” Website, "Proceeds from the sale of Secret Path will go to The Gord Downie Secret Path Fund for Truth and Reconciliation via The National Centre for Truth and Reconciliation at The University of Manitoba.” (Downie, 2016), and these funds would be dedicated to preserving the history of residential schools and finding more missing children. Downie also established a separate “Gord Downie & Chanie Wenjack Fund” that focuses on cross-cultural education to support healing and recovery. The website of the latter fund is largely designed to promote learning for reconciliation and offers a “learning resources page” which showcases various lesson plans using “secret Path” from various Canadian schools (2016, “Secret Path Learning Resources”). The page also offers a Youtube video that showcases both Pearl and Daisy visiting a school that had students writing letters in response to Downie’s project. At the start of the video, Pearl admits that she was hesitant in introducing “Secret Path” to children, because she first thought the children would not be able to understand the pain in Chanie’s residential school experiences. As the video progresses, the students read their letters to the Wenjack sisters and they are shown to able to understand and relate with the Indigenous knowledge shared through Downie’s work. The video then ends with the children celebrating the diversity of cultures within their communities and being hopeful for the future. This video and learning resource page makes it evident that education and awareness on the reconciliation between two cultures are possible, and different people from different places can establish genuine connections with each other by simply communicating.

Benefits and Challenges:

Throughout the Secret Path, Downie’s words have a sudden respect for space as they stay true to Chanie’s story. In the first song, “The Stranger” Downie resists projecting onto Chanie, as the lyric produces a form of ambiguity and anxiety that remains true to the theoretical feelings of a lost 12-year-old. The benefit of this approach would be the calm introduction of the history and story behind Chanie’s story being suitable to ease into and develop a form of attachment towards the hardships experienced on his journey. Downie’s direct lyricism also reflects to how the Secret Path itself is a story of space, illustrating on the distance between Chanie and his family, and the open spaces between his steps on a seemingly endless stretch train tracks. The visuals that this story portrays within the viewer's imagination, viewer’s typically remember the majority of what they see and hear, and very rarely what they have read, as the level of interaction develops, a stronger connection forms within the viewer. This benefits greatly, in ensuring that these Indigenous stories, are not forgotten, that the experiences of individuals faced through this historic catastrophe are heard. Residential school awareness is essential to the healing process as this is the first step to reconciliation between Indigenous and non-Indigenous people.

The sensitivity of the subject, could be a challenge to some viewers, as the message behind the story is rather strong. Viewers who have experienced, or have family members that have endured the rather disturbing treatments within residential schools may struggle with the material. This may result in psychological distress and pain that has not yet been forgiven, causing some to have to relive such a horrid experience mentally. Proper protocols would be necessary to help manage these difficult topics and to prepare viewers for what is about to be presented. The story is a difficult, inspiring and very painful journey for everyone. It may be rather difficult to find a teacher who is willing to teach this resource and subject confidently towards their peers, otherwise the story loses meaning if not presented and discussed openly within a classroom setting.

Educational Perspectives:

One of the advantages of this source is that it could be used in many ways in a classroom environment. For younger students, the audio and visual aspect of the source would be a great way to introduce the histories of the residential school system and Canada’s legacy regarding their treatment of Indigenous peoples. Furthermore, these histories require a lot of difficult reading and so the visual representation that the source provides would perhaps be more suitable for younger students. Although the visual album is approximately two hours long, an educator has the option of showing specific parts of the album, or perhaps viewing the album over a longer period of time. In particular, the introduction and the first song would be used as a lesson with younger students in order to create empathy for Indigenous issues and help them recognize that these issues represent a problem for all of us. The tone of the visual album is great for this, as it provokes a strong emotional reaction upon viewing Chanie’s story. We would show the album to students, have them reflect on the events that happened to Chanie, and discuss how it made the students feel if this happened to them. Due to Chanie’s young age, it would be easier for students to picture themselves in his situation and begin to understand the horrors that so many children like Chanie had to face.

 For older students, such as those in high school, the source could be used as a way to introduce students on critically examining resources and the narratives that are presented to them. The Secret Path would be used while examine portions of the Truth and Reconciliation Commission on Residential Schools in order to provide an audio and visual aid to readings that may be considered dense by students. Furthermore, this could then be used to launch students into a research project. This research project could take on many different directions. One such direction would be to have students work in groups and either focus on contemporary Indigenous issues and the narrative that is being presented or perhaps critically examining other Canadian narratives. Although, some of these may not perhaps be directly linked to the issue raised by The Secret Path, students would be learning to be critical of the narratives that are presented to them and to do their own research before accepting them. After presenting their findings, students would be asked to reflect on the issues that were raised by other groups and how we can try to create a more inclusive narrative of Canada’s past, present and future. Even though the ways of using this source are primarily reflective in nature, it is important for students to reflect and discuss as the classroom can serve as the basis of a dialogue that could result in a better relationship between all of those who live in Canada.

References Used Throughout:

Adams, Ian. The lonely death of Chanie Wenjack. 22 Oct. 2017, www.macleans.ca/society/the-lonely-death-of-chanie-wenjack/. Accessed 3 Nov. 2017.

Downie, G. (2016). Secret Path Learning Resources. Retrieved from https://www.downiewenjack.ca/learning/secret-path-learning-resources

Downie, G. (2016). Statement By Gordon Downie. Retrieved from http://secretpath.ca/

Gregorie, L. (2016). Gord Downie’s Secret Path giving hope to Inuit trauma survivors. Retrieved from http://www.nunatsiaqonline.ca/stories/article/65674gord_downies_secret_path_giving_hope_to_inuit_trauma_survivors/

Lemire. J. (2016). Statement By Jeff lemire. Retrieved from http://secretpath.ca/

[ourcommonbowl-blog]

Speaking Our Truth: A Journey of Reconciliation by Monique Gray Smith.

Christine Albertson, Robin Goodman, Matthew King-Roskamp, Marisa McGarry,  Kimberley Thee

What is the resource and why did we select it?

Speaking Our Truth: A Journey of Reconciliation is a book written by Monique Gray Smith (2017) which encourages readers to join the journey of reconciliation and to explore the true history of Canada. This book can be found as an ebook from Google Books and Amazon, or it can be ordered as a hardcopy from the Speaking Our Truth website (http://orcabook.com/speakingourtruth/index.html). The supplementary Speaking our Truth Teachers’ Resource Guide (Henry, 2017) can be downloaded for free from the Speaking Our Truth website (http://orcabook.com/speakingourtruth/index.html). These additional multimedia resources aid in guiding students through Gray Smith’s book (2017) and allow students to have a broader and more impactful learning experience. We selected this set of resources to highlight on the “Our Common Bowl (Saytk'ilhl Wo'osim') Knowledge Mobilization Blog” because it discusses essential topics for Indigenizing one’s educational practice and is an exemplary Indigenous educational resource that meets the criteria for critically assessing Indigenous resources. In particular, Speaking Our Truth:

  •     Is written by an Indigenous author who does not claim to speak for all Indigenous Peoples, identifies “with specific Indigenous communities,” and “provide[s] some legitimate or specific reasons for sharing the content” (Parent, 2017, slide 12);

  •     Avoids “anti-Indian bias” (“How to tell,” n.d.);

  •     “Acknowledges and honors the source of the story” (“Oyate’s additional criteria”, n.d.);

  •     Offers a “complex and contemporary” depiction of Indigenous Peoples and Indigenous knowledge (Parent, 2017, slide 19);

  •     “Reflect[s] cultural knowledge as alive, fluid, complex and applicable in a contemporary context” (Parent, 2017, slide 19);

  •     Depicts Indigenous Peoples as “members of highly defined and complex societies” (“How to tell,” n.d.); and

  •     Portrays Indigenous Knowledge as “[growing out] of the past, connected to the present, and taking the people into the future” (“How to tell,” n.d.).

It is evident throughout Speaking Our Truth, that Gray Smith is transparent about her identity and frame of reference as an author. She describes her Indigenous ancestral and cultural roots at the beginning of the first chapter and contextualizes her perspective within this personal history. In doing so, Gray Smith “situates the stories in the context of her own culture and family” (“Oyate’s additional criteria,” n.d.). Gray Smith’s mother descends from the Peepeekisis First Nation in Saskatchewan, but was adopted into a non-Indigenous family, while her father has Scottish and Lakota ancestry. Gray Smith’s mixed Indigenous and Settler identity provides an Indigenous perspective and relevant perspective. However, Gray Smith carefully acknowledges the limitations of her perspective by pointing out that she does not “speak for all Indigenous people” and that hers is one of many voices speaking about Canada’s colonial past (Gray Smith, 2017, p.5). She points out that there are multiple perspectives and stories about the impact of colonization and residential schools beyond her own, thereby “acknowledg[ing] and honor[ing] the source of the story” (“Oyate’s additional criteria,” n.d.). Moreover, Speaking Our Truth uses a strengths based approach to describe the history of Indigenous Peoples and their current context; it does not tokenize or exoticize Indigenous Peoples nor present Indigenous Peoples and Knowledge from a deficit, paternalistic, or stereotypical perspective (“How to tell,” n.d.). Gray Smith (2017) acknowledges the differences between Indigenous Nations while also providing an overview of some of the similarities amongst Indigenous Peoples world view, including “living off the land and water” (Chapter 2, Pre-Contact, para 2), “respect for the earth, the sky and all living things” (Chapter 2, Pre-Contact, para 2), and the “sacred responsibility” of raising children (Chapter 2, Pre-Contact, para 5). These elements of Indigenous cultures, however, are not discussed as outdated principles but are instead discussed as an “outgrowth of the past, connected to the present, and taking the people into the future,” (“How to tell,” 2017). As such, Speaking Our Truth (Gray Smith, 2017) depicts “cultural knowledge as alive, fluid, complex and applicable in a contemporary context” (Parent, 2017, slide 19). For these reasons, Speaking Our Truth (Gray Smith, 2017) is an excellent example of how an educational resource can honour Indigenous Peoples, values, and worldview while providing educators with a resource they can use to Indigenize their pedagogy and teaching practice.

What is the role of Indigenous Knowledge, content, and perspectives in this resource?

To be able to facilitate reconciliation, it is important for both Indigenous and settler populations to begin the process of recognizing and moving past colonial narratives and oppressive ideologies and to bring to the forefront Indigenous knowledge systems and ways of knowing. This book is rooted in traditional knowledge, dividing its chapters between three central Indigenous values: Honesty, Love, and Kindness. Speaking Our Truth (Gray Smith, 2017) not only includes, but is built on Indigenous Knowledge and world views. Gray Smith (2017) relays to the reader that these specific values were taught to her by Elder Fred John from the Xaxli’p nation, and are based on the tradition of harvesting and braiding strands of Sweetgrass together--the values of Honesty, Love, and Kindness represent each of the three strands of Sweetgrass which are woven together. Within the context of Speaking Our Truth (Gray Smith, 2017), honesty is connected to the question “Where have we come from?” while Love and Kindness respectively ask: “Where do we stand today?”, and “Where do we go from here?”.  The book (Gray Smith, 2017) explores these themes by blending the colonial history of Canada with personal accounts of residential schooling, along with possible present and future acts of reconciliation that students are invited to engage with. This melding of past, present, and future constitute a holistic approach to knowledge. In particular, the power and validity of personal knowledge are emphasized strongly within Speaking Our Truth (Gray Smith, 2017). By giving Residential School survivors a space to tell their personal stories, Speaking Our Truth (Gray Smith, 2017) acts as a medium by which “knowledge can be validated through collective analysis and consensus building” (Castellano, 2000, p. 26). Another important feature Gray Smith’s book (2017) is the way in which it encourages students to engage in reconciliation on a practical and experiential level. By outlining the definitions of kindness and reciprocity, and explaining the importance of these values moving forward, Speaking our Truth (Gray Smith, 2017) allows students to create knowledge through experience. Students are encouraged to participate in a number of reconciliation projects, including 94 days of reconciliation, the Kairos Blanket Exercise, Project of Heart, and the TRC Reading Challenge, among others. By actively engaging readers in these projects, Gray Smith’s book (2017) acts as a means through which students can be “transformed by identifying and reaffirming learning processes based on subjective experiences and introspection” (Castellano, 2000, p. 28). This offers educators the opportunity to Indigenize their curriculum and lesson plans and decolonize their own teaching practices and pedagogy.

What are the benefits and challenges of using this resource?

Speaking Our Truth (Gray Smith, 2017) is an outstanding educational resource because it offers educators a number of key benefits if they use it to help them Indigenize their curricula. Firstly, Speaking Our Truth (Gray Smith, 2017) provides a comprehensive overview of the pre-contact history of Indigenous Peoples, colonization, the traumatic legacy of Residential Schools, and the ongoing process of reconciliation. Adding to the comprehensiveness of this book is its corresponding Teachers’ Resource Guide (Henry, 2017) which provides educators with a plethora of engaging activities that can be used to build complementary curriculum and lesson plans. Therefore, a primary benefit of Speaking Our Truth (Gray Smith, 2017) is that it is simplifies the task of Indigenizing educational content and building an age appropriate curriculum on these complex and challenging topics. In addition, when writing this book, a key goal that Gray Smith established was to tell the truth about Canada’s relationship with Indigenous Peoples to debunk the false narratives about Canada’s benevolent and peaceful relationship with Indigenous Peoples (Gray Smith, 2017, September 12). In telling the truth of Canada’s treatment of Indigenous peoples Gray Smith does not shy away from discussing the violent realities of the past and their present-day impacts, including the physical, sexual, and emotional abuse experienced by children at Residential Schools and the resulting legacy of intergenerational trauma. However, Gray Smith (2017) presents these truths in an age-appropriate way by carefully introducing straightforward, simplified definitions and explanations of concepts such as systemic and internalized racism, colonization, privilege, and cultural genocide. Gray Smith (2017) does not sugarcoat or hide the traumatic reality of Canada’s history. This can be challenging for learners to confront, especially if they are young and encountering this history for the first time. To help balance this critical and direct approach, the activities in the Teacher’s Resource Guide (Henry, 2017) include personal reflection questions, poems, and other creative activities. For example, the "Ribbon Skirt" activity includes a poem about strength of spirit and heart and asks learners to answer the following reflection questions:

1. How is the ribbon skirt a symbol of Kelsey’s connection to her culture? 2. How is her skirt a symbol of Indigenous connection to the land and water? 3. What is the significance of regalia in First Nations, Métis and Inuit cultures? 4. How does Kelsey redefine resistance through her imagery of her ribbon skirt? 5. What gives you strength on tough days? (Henry, 2017, p.12)

The creative and reflective nature of the activities in the Teachers’ Resource Guide (Henry, 2017) can help readers productively engage with this challenging content. This reflective pedagogy encourages learners to engage with the material from a holistic perspective, rather than from a purely quantitative Western intellectual perspective; this demonstrates further how this resource reflects Indigenous knowledge systems and worldview. As Castellano (2000) points out, “all of the senses, coupled with openness to intuitive or spiritual insights, are required in order to plumb the depths of aboriginal knowledge” (p.29). As such, these activities engage Indigenous knowledge traditions by encouraging learners to connect personally with the content, reflect, come to their own conclusion about the lessons embedded in the activity, and thus and build a more holistic awareness about Indigenous culture and Canadian history. Moreover, the activities can help learners build compassion, understanding, and empathy towards each other and Indigenous Peoples. Lastly, Speaking Our Truth is a beneficial educational resource because it invites all Canadians to take part in the process of reconciliation from this place of holistic awareness. Gray Smith incorporates interviews and stories from a variety of Indigenous people and Settlers in order to show how people of different identities are engaging in the process of reconciliation. When she set out to write this book, Gray Smith aimed to incorporate a multiplicity of voices besides her own (Smith, 2017a). She has thus woven in personal stories from Indigenous people, Residential School Survivors, Truth and Reconciliation Honourary Witnesses, and non-Indigenous youth throughout the book. Moreover, Speaking Our Truth gives readers suggestions about what they can do to engage more fully with the challenging process of reconciliation. For example, at the beginning of the book, reconciliation is characterized as a journey that we must prepare for (Gray Smith, 2017); there are values, such as “curiosity” and “openness,” that we must bring along with us on this journey and there are other things, namely our attitudes that prevent us from being open to learning, that we should not take with us on the journey (Gray Smith, 2017, Chapter 1, Preparing for the journey, para 2). The author provides suggestions for actions and steps one can take to actively participate in the process of reconciliation beyond reading this book. Readers of all ages can therefore benefit from reading Speaking Our Truth.

While this book has an number of benefits as an educational resource, there are some challenges that are worth noting. Firstly, this book was published in September  2017 and thus there are currently not many critical reviews of this resource. In particular, there is only one online article (an interview with Gray Smith) that is written by an Indigenous reviewer (https://thetyee.ca/Culture/2017/09/15/Novelist-Readers-Reconciliation-Journey-Across-Canada/). A further challenge is that while Gray Smith acknowledges the diversity of Indigenous cultures by stating that “each Nation had its own ceremonies, protocols and beliefs” (Gray Smith, 2017, Chapter 2, Pre-contact, para 2), she does not go into much further detail about the diversity of cultural practices. As such, there is the potential that some people would not understand the diversity of Indigenous peoples in Canada and may make the mistake of painting all Indigenous Nations and cultures with the same brush. Moreover, while Smith does mention that she has included teachings she has received from other Indigenous mentors throughout her life, she does not outline the genealogy of these teachings in the book in great depth. One possible explanation for this is Gray Smith’s own journey reconnecting with her Indigenous cultural roots later in life (Gray Smith, 2017, September 12). Lastly, we were unable to discern if the author of the Teachers’ Resource Guide is Indigenous or not, which would be useful to know in order be clear about the frame of reference that this guide is written from to aid in properly assessing its appropriateness as an Indigenous resource.

How can educators make use of this resource?

Speaking Our Truth (Gray Smith, 2017) and the accompanying Teachers’ Resource Guide (Henry, 2017) are extremely useful resources for early elementary, middle, and high school educators in British Columbia. Speaking our Truth (Gray Smith, 2017) was created with the intention to teach reconciliation to middle-grade readers, however the content, lessons, and activities have the potential to be adjusted so that they are relevant to various age ranges. Not only does this resource provide useful information and activities for classroom lessons that can be adapted to be age appropriate, it also provides suggestions on how teachers can bring Aboriginal education into their pedagogy, such as utilizing collaborative and reflective learning practices (Henry, 2017, p. 2-3).  

Grade five school teachers in British Columbia will find this resource particularly useful as both the content and activities match well with the curricular competencies laid out by the BC Ministry of Education for grade five Social Studies (Government of British Columbia, 2015). Each chapter of Gray Smith’s book (2017) contains reflective questions that students can compile into their own reflective journals (Henry, 2017, p. 3). These reflective journals - whether written or oral -  satisfy the grade five curricular competency goals to “use Social Studies inquiry processes and skills to ask questions, gather, interpret, and analyze ideas” and to “Take stakeholders’ perspectives on issues, developments, or events by making inferences about their beliefs, values, motivations and perspectives” (Government of British Columbia, 2015).

Many of the activities in this resource can be adapted to be appropriate for younger grade levels and different subjects. For example, Henry (2017) suggests that the spoken word is a medium to express content knowledge and provides opportunities for discussion and for students to express their ideas orally, as opposed to providing a written response; an elementary teacher who embraces Speaking Our Truth (Gray Smith, 2017) as a resource will be able to achieve some of the curricular goals for grade one English Language Arts, where students are expected to “explore oral storytelling processes” and to “exchange ideas and perspectives to build shared understanding” (Henry, 2017, p. 5 & 36; Government of British Columbia, 2015). Henry’s activity Listening Respectfully is an excellent activity that can be modified to allow grade one teachers to bring Indigenous values into their English Language Arts class; students are put into pairs and encouraged to speak their stories or their truths in their first languages, with the goal that each student can practice telling a story and respectfully listening to a story (Henry, 2017, p. 28).

High school teachers can also utilize the content and activities provided in this resource package. Grade nine Arts Education teachers have the competency goals for students to “explore relationships between identity, place, culture, society, and belonging through artistic experiences”, to “reflect on works of art and creative processes to make connections to personal learning and experiences”, and to know “traditional and contemporary Aboriginal worldviews and cross-cultural perspectives communicated through artistic works” (Government of British Columbia, 2015). A curriculum extension provided in the Teachers’ Resource Guide called Artist as Activist requires students to research and explore the work of local Indigenous artists and why they are considered “cultural warriors” (Henry, 2017, p. 22). The creative writing assignment allows students to create a “sense poem”, which requires students to write a poem from the perspective of the land, the water, an animal, or a bird (Henry, 2017, p. 33). Both of these activities satisfy the competencies for grade nine Arts Education students, listed above. Speaking Our Truth is an exceptionally useful resource for K-12 educators, however the activities listed in the Teachers’ Resource Guide (Henry, 2017) could also be adapted for post-secondary students and adult learners.

Conclusion

In summary, Speaking Our Truth: A Journey of Reconciliation and its supplementary Teachers’ Resource Guide is a resource for Indigenized education in the modern classroom, based in holistic and experiential learning. Gray Smith’s book (2017) takes a values-based, truth-seeking approach to reconciliation. She directly and clearly challenges colonial histories, using her own lived experiences and the experiences of residential school survivors to ask key questions about the present and future of reconciliation. By acknowledging that her voice is only “one of many” (Gray Smith, 2017, Chapter 1, Why do we need this journey, para 5), Gray Smith demonstrates how important it is to listen to multiple experiences and perspectives and helps to clear the path for other Indigenous voices and personal stories, presented in Speaking Our Truth and in the supplementary resources, to contribute to a broader understanding of Canada’s colonial past. Further, this resource is structured in an extremely accessible way - including multimedia, holistic learning activities, and the Teachers’ Resource Guide (Henry, 2017), which engage students to a deeper learning experience. These also allow educators to present a complex, contemporary view of reconciliation in a way that is approachable for students of any age. This resource provides ways for students to engage with and drive forward reconciliation, encouraging meaningful action rather than textbook-style learning. In addition, Speaking Our Truth (Gray Smith, 2017) directly builds towards many of the curriculum competencies laid out within the British Columbia Curriculum and thus is of great use to current and future educators. This resource is a powerful educational tool for approaching reconciliation with truth and learning in mind. “Without truth, justice is not served, healing cannot happen, and there can be no genuine reconciliation between Aboriginal and non-Aboriginal peoples in Canada” (Truth and Reconciliation Canada, 2015).

Reference List

Castellano, M. B. (2000). Updating Aboriginal traditions of knowledge. In G.J., S. Dei, B. L. Hall & D. G. Rosenberg (Eds.), Indigenous knowledges in global contexts: Multiple readings of our world (pp. 21-36). Toronto: University of Toronto Press.

Government of British Columbia. (2015). Building Student Success – British Columbia’s New Curriculum. Retrieved from https://curriculum.gov.bc.ca/curriculum

Gray Smith, M. (2017, September 12). Monique Gray Smith: To explain reconciliation to children, we must be truthful and face our own fears. Retrieved from https://quillandquire.com/omni/monique-gray-smith-to-explain-reconciliation-to-children-we-must-be-truthful-and-face-our-own-fears/

Gray Smith, M. (2017). Speaking our truth: A journey of reconciliation. [Kindle version]. Retrieved from http://www.amazon.ca

Henry, T. (2017). Speaking our truth: A journey of reconciliation teachers’ resource guide. Victoria British Columbia: Orca Books Publishers.

How to tell the difference. (n.d.). Retrieved from http://oyate.org/index.php/resources/41-resources/tell-the-difference

Nelson, M. (2017). Increasing Community Connection Through Curriculum. In Archibald, J., Xiiem, Q., & Hare, J. (Eds.), Learning Knowing Sharing: Celebrating Successes in K-12 Aboriginal Education in British Columbia (pp.144-154). UBC: Office of Indigenous Education, Indigenous Education Institute of Canada, UBC Faculty of Education, British Columbia Principals’ & Vice-Principals’ Association.

Oyate’s additional criteria. (n.d.). Retrieved from http://oyate.org/index.php/resources/42-resources/oyate-s-additional-criteria

Parent, A. (2017). Aboriginal Ped & ISW-Critical Resource Assessment workshop [PowerPoint slides]. Retrieved from https//:canvas.sfu.ca/courses/34643/files/folder/unfiled?preview=6614807

Truth and Reconciliation Canada. (2015). Honouring the truth, reconciling for the future: Summary of the final report of the truth and reconciliation commission of canada. Retrieved from http://nctr.ca/assets/reports/Final%20Reports/Executive_Summary_English_Web.pdf

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“Totem” by Thomas King

Gurroop Sahota, Denise Sammon, Chanel Stanley, Hervir Dulay

“Totem” is a short story that was written by Thomas King in 1993. In the short story, a totem pole is only noticed due to “strange sounds” it is making in a corner of a Canadian museum, causes both the staff and visitors to be “annoyed” by what “sounds like gargling” (p. 119). As the totem pole does not fit in with the current exhibit, the director of the museum decides that it needs to go. The problem, however, is trying to remove the totem pole and where to put it. This short story addresses issues of colonization faced by Indigenous peoples through metaphorically symbolizing the totem pole as the Indigenous peoples’ culture and land, while the rest of the individuals symbolize people of western society. Furthermore, the fact that the totem pole is found in a corner of the museum symbolizes how Indigenous culture was pushed aside and essentially put out of view. It brings the idea of colonization into a contemporary story revolving around the representation of Indigenous land as the museum. 

This resource was chosen because it not only presents the theme in a manner which is suitable for younger audiences, but also brings to light the theme of colonization and how many different attempts were made to reform Indigenous land in order to suit colonizers/settlers. Another reason this resource was chosen was due to the way it was written, as it presents the story in a conversational form which keeps the reader engaged and able to take in the different perspectives seen throughout. The story provides a visual context through its words, and is able to portray the constant resistance to conforming to societal pressures with regards to assimilation. The story is also concise and to the point, which allows the reader to follow the central theme thoroughly without falling away towards different topics. This short story can be found in Inside Stories II, Kirkland, G., & Davies, R. (2000). King, T. (1993) Totem. In Inside stories II (pp. 119- 124). Toronto, Ont.: Harcourt Brace Canada.

The story “Totem” is written from a western perspective, despite the underlying messages about indigenous culture and history. The author is of Cherokee and Greek descent; although his writing is humorous there is a serious message and commentary about the western viewpoint of indigenous peoples and their cultures. In the story, the totem pole is representative of the history of indigenous people and their connection to the land. King delivers the western perspective through quotes such as: ““It appears… that it goes right through the floor.”... Larue shook his head. “It doesn’t make any sense,” he said, “because the floor’s concrete. I was here when they built this building, and I don’t remember them pouring the floor around a totem pole”” (p.120). Thus, King comments on the failures of western understanding and disregard of the indigenous peoples. The setting of the story, the Southwest Alberta Art Gallery and Prairie Museum, is also a commentary on the exclusion of indigenous artifacts and artwork in that only “contemporary Canadian artwork” (p. 119) was being displayed. King’s unique perspective and writing style provides a rich resource for study and discussion.

While the incorporation of short stories in teaching English curricula is common practice, when presented through an Indigenous resource like Thomas King’s “Totem”, several meaningful purposes come to surface. Typically, depending on the student’s grade level, it’s expected that they can identify storytelling devices such as metaphor, analogy, allusion, simile, and the like. Other areas of assessment involve demonstration of understanding for short story components such as: plot, character, conflict, theme and setting. However, in addition to the aforementioned, the beauty of using a short story like “Totem” is that it invites both literary skill development and themes of ethnic sensitivity into the English classroom. Older students, in particular, can learn to view the Indigenous reality in a metaphorical sense, as, like the totem pole, their voices, too, have experienced harsh suppression. The feasibility of an in-depth understanding is largely dependent on the group of students. Information on this particular author’s background is also easy to access, mainly because of the popularity of Thomas King’s works.

Challenges in executing Indigenous pedagogy inevitably exist within the Canadian school system. One of the challenges is often the lack of background knowledge of First Nations culture and tradtions that is expected of educators when introducing Indigenous materials. Given that some students, more than others, find it hard to read beyond the surface level, guiding prompts can be used to evoke discussions around themes, underlying messages etc. It is important, though, that the nature of prompts does not introduce preconceived biases, stereotypes and even unintended racist remarks which can contaminate students’ perspectives of Indigenous culture. Classroom discussion invites the expression of contradictory opinions, potential cultural and emotional discomfort, all of which the facilitator must handle carefully. At the same time, follow-up activities, such as collaborative, small group work, or self-reflection, lead students to critically engage with the material and see how it applies to their own worldviews. Overall, if the wide spectrum of student learning styles, intellectual skills, as well as ethnic backgrounds is taken into consideration, the Indigenous resource, “Totem” can serve a multipurpose use.

“Totem” is one of many choices that English teachers may choose to as a resource for the short stories unit. This story is rich in content and there are many different ways to incorporate indigenous knowledge by using this resource. Some activities that can be used are quotation analysis, roleplay reading, comparison writing, and gallery walks to name a few. A way to use this story effectively is to first have the students decipher and then discuss literary elements such as theme, connotation, setting, and conflict, using quotes from the story to support their answers. Using another resource, such as “I’m Not the Indian You Had in Mind”, by Thomas King (insert link), the students can compare and contrast the two pieces of literature. The initial comparison of the two works could be done using specific questions about the texts for groups to brainstorm ideas before leading into a gallery walk. Throughout the gallery walk, groups would contribute new ideas to each poster. Once groups have reached their original poster, they would read over all comments before presenting their finished product. A following lesson would include a formalized compare and contrast writing activity from which to assess their analytic and writing skills.

Layered with meaning and imagery, “Totem” is a valuable piece of literature that can be brought into an array of classrooms. Throughout its many layers “Totem” speaks to the history of a colonized Canada and the systemic racism towards the First Peoples of Canada. Within the Social Studies classroom, this short story would complement lessons on Canadian history and would offer students an opportunity to analyze the text through a comparison of the Western and Indigenous lenses in regards to storytelling and to think critically about the historical context. Thomas King’s short story also offers a great way to begin or continue relations/connection with the local First Nations in the community/area. When working with a resource such as “Totem”, it is a worthwhile to share with parents the resource and the intention behind its use. Especially with senior grades, the conversations and learnings/awakenings that may come while unpacking the story may challenge conscious/unconscious belief systems of either the students or their families. The connotations and deeper layers of meaning offered within the short story may trigger strong emotions from First Nations students; therefore, it is important for educators to be mindful of the way the conversations are directed. King’s story also offers teachers and students entrance into the arenas of social justice and sociology and could be used as a starting point for a social justice inquiry and actionable plan. In summary, “Totem” is a valuable teacher and student friendly resource that can easily be incorporated into English or Social Studies classes.

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Nunavut Animation Lab - Qalupalik

Neena de Ruiter, George Gao, Ricky Chen

Qalupalik is originally a story from the Inuit peoples and this film adapted its story using stop-motion animation. The film is directed by Ame Papatsie and is merely 6 minutes long. The film was produced by both the National Film Board of Canada and the Inuit Broadcasting Corporation. This film visually and orally tells the story in a language that children can understand. Papatsie utilizes stop-motion animation with leather cutouts to retell a traditional story. The National Film Board of Canada website also includes a lesson plan to help with teaching a younger audience to understand the traditions of Inuit storytelling prior to viewing the film.

Context of the Piece

The story shares its name with the half-human, half-sea monster, Qalupalik. This monster lurks in the ocean, preying on children who do not listen to their parents or their elders. One boy disobeys his parents and goes out to play. Qalupalik takes the boy away from his village, and his father goes out on a journey to find and bring back his son home.

The story is based on an Inuit tale and retold by Ame Siqiniq Papatsie. Not much about Papatsie could be found, this short film being his only one. However, he is an artist who studied at Nunavut Arctic College. Most of the little information we have found of him were from social media sites, such as Twitter and Facebook, so the accuracy of his roots are not reliable. 

In an article, the differences in how Inuit storytelling films were presented differently between studios was compared to by looking at their adaptions of the story Lumaajuuq. It showed how the National Film Board of Canada, the same producer as for Qalupalik, had respected their original source, utilizing Inuit art forms to further enrich the animation experience (Korniakova, 2014, p.17). Qalaupalik was also created with respect, being mostly directed by Paptsie, someone with Inuit heritage. We believe that the National Film Board, with the work of Inuit Broadcasting Corporation, is able to present Qalupalik well. 

Benefits and Concerns of Qalupalik

The story is presented by the way that most children appreciate -- animation. Different from normal animation techniques, this film uses stop-motion skill to revivify the original scene of a traditional Inuit story. The motions that stop for few seconds could let children carefully observe the detailed drawing of those Inuit objects like inukshuks (a kind of stone landmarks), the Nunavut flag, and other sketches on the board (NFB, 2010). It can also allow children to image the motional scene in their minds by leaving the motions stop. Besides, the film that based on the Inuit story uses the voiceover language that easy for children to understand, and the storytelling is in a slow narrative pace. The music and sounds it uses are precise that make children feel and immerse into the that culture deeply. It is not only a rearranged lesson to teach children, which tell them to listen to their parents. Qalupalik also gets children know more about Inuit culture in an appropriate way. 

On the other hand, the character Qalupalik, a half man half sea-monster, is drawn with a scary figure in the film, and when it appears, the background sound gets scary as well. This could be a disadvantage for this film, because once children got scary and fear of the monster scene, they would not willing to keep watching it, or even resist to watch this kind of First Nation animations any more. For those children who are not familiar with this culture, the horrible descriptive scenes in the film would cause their biased opinions, such as thinking the whole culture is in a dark and scary atmosphere. In order to fully utilize the film in a learning environment, we’ll need to consider how we introduce the film in a way younger children can understand its importance. 

Teaching practice

The instructor should be sure to introduce the culture of the Inuit people, the community in which Qalupalik originated from. Educators should connect with relevant First Nation Peoples community in order to bring the information in the most respectful manner to their students. JoAnn Archibald’s Indigenous Storywork, emphasizes the importance of the 4 R’s, respect, relevance, reciprocity, and responsibility. Allow the students to be aware of the community Qalupalik is from and why it is important to hear their stories before showing the class Qalupalik. 

We would use the animated film Qalupalik for Social, English and Arts classes. According to National Film Board of Canada, potential students will be in grades 3 to 6. The lesson will help students to better understand Indigenous cultural. Students will be attracted by both the narrative storytelling and the art style of the work. So they can better understanding metaphor as well. 

We suggesting assigning this film as homework first, students need to watch it with their family. Before assigning this homework, we’ll need to let the children know the film is based on an Inuit story, Qalupalik. The film “tells the tale of a disobedient child who fails to heed the warnings about the danger of the shore and the power of the sea.” Then, we would let them know the film is animated by using leather piece as well. The next day, they already watched film at home with their parents last night. I will show the film in class so we can all watch it again. Then, we would encourage discussion on the film freely. After three - five minutes. I will leave them with some questions listed on the National Film Board’s website:

What is this story warning against? 

How is it a metaphor (both positive and negative) for the sea? 

Does the story have a happy ending?

Does Qalupalik really exist?

We would let them to form groups of 3-5 people to continue the discussion for another five minutes. Each group will share their thoughts with the rest of the class. 

The lesson would end with “explaining that the Inuit once believed everything had a soul: man, animals, plants and objects. Qalupalik represents the sea’s dual nature: its generosity to the alert hunter, and its dangers for the imprudent child”. 

At the end of the day, we would encourage all students to tell their family what we have discussed in class and watch the film again with their parents.

References

Archibald, J. (2008). Indigenous Storywork. Vancouver: UBC Press. Retrieved from http://www.ubcpress.ca/books/pdf/chapters/2007/indigenousstorywork.pdf 

Korniakova, E. (2014). Canadian and Russian Animation on Northern Aboriginal Folklore. Retrieved from http://spectrum.library.concordia.ca/979038/1/Korniakova_MA_F2014.pdf 

National Film Board of Canada and Inuit Broadcasting Corporation. (2010). Qalupalik - Lesson Plan. Retrieved from http://www3.nfb.ca/sg/100690.pdf 

Papatise, Ame. (2010). Qalupalik [video]. Retrieved from https://www.nfb.ca/film/nunavut_animation_lab_qalupalik/

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A Tribe Called Red

Amy Cain, Ash DesLauriers, Brianna Vissers, and Marie Cojocariu

Description and Rationale 

For our resource we have chosen to analyse the band A Tribe Called Red, and specifically, their album called We Are The Halluci Nation. This album can be accessed through sound cloud at https://soundcloud.com/a-tribe-called-red. This album is an example of contemporary Indigenous powwow music featuring John Trudell, Black Bear, Northern Voice and Chippewa Travellers (Kinos-Goodin, 2016). A Tribe Called Red “combines hip-hop music, electronic music with Indigenous drumming and vocals” (PressKit). A Tribe Called Red is telling their stories, through remembering past events and treatment of Aboriginal people, yet moving forward making their voices loud and clear through their music. We chose this resource firstly because we are excited to learn about Aboriginal peoples expressing their voices and inspiring others to support “inclusivity, empathy and acceptance amongst all races and genders” (PressKit). A Tribe Called Red is an Indigenous resource and a culturally relevant resource to share. Furthermore, due to the nature of the contemporary art, we believe that students would enjoy listening to the album and find it engaging. The music is relatable for students and allows for different types of exploration and investigation in the classroom. Finally, this album is a unique way for A Tribe Called Red to engage in storytelling and express their voices and identities. 

Role and Genealogy of Indigenous Knowledges, Content and Perspectives 

The band consists of three members: Ian “DJ NDN” Campeau—an Anishnaabe Ojibwe of the Nipissing First Nation—Tim “2oolman” Hill—of the Mohawk First Nation—and Ehren “Bear Witness” Thomas—of the Cayuga First Nation. The band’s blend of electronic hip-hop and traditional powwow music was a deliberate choice to blend “dance music with dance music” (Many Guns. H., 2017)—traditional Indigenous dance music with modern dance music. They use  the medium of dance music to discuss the hard realities of the history of Indigenous peoples in Canada, as they believe, “what we need to say, and what we need to get out there, is easier to do when you’re dancing. I think that’s something Indigenous people knew a long time ago, and that’s why dancing is such an important part of our everyday life” (Many Guns. H., 2017). The band incorporates Indigenous instruments and vocals into their music—borrowing from their own cultures as well as other Indigenous cultures all over the world—using varied Indigenous drums and “the languages of the drums that [they] sample” (Many Guns. H., 2017). Travelling the world to perform allows the band the opportunity to also “record and sample Indigenous singing, and Indigenous instruments from their home” (Many Guns. H., 2017). In their album We are Halluci Nation, they have sampled numerous artists from other Indigenous communities: “Blackbear, who are Atikamekw [...] from Northern Quebec”, Maxida Marak—a Sami artist from Sweden—performing traditional singing called “Joik”, and the band Oka from Melbourne, Australia (Many Guns. H., 2017). 

The band name is a homage to “A Tribe Called Quest”, a hip hop group which tackled African-American social issues. They are also paying homage to the cultural heritage of hip hop, a genre which has its roots in “consciousness awareness, civil rights awareness, activism awareness, justice, political awareness, and community awareness” (https://en.wikipedia.org/wiki/Hip_hop); true to these cultural roots the band passionately promotes “inclusivity, empathy and acceptance amongst all races and genders in the name of social justice”, and has been actively involved in the Canadian Aboriginal rights movement “Idle No More” (Press Kit).

Benefits and Challenges

The benefits of using We Are the Halluci Nation as a resource that students and more broadly people can become more engaged in the topics discussed because music, particularly music that is contemporary, speaks to the interests and heart of people more than traditional forms of media. While the context for the information is accessible and student-friendly, the album also unapologetically deals with heavy issues such as colonialism and exploitation to help illuminate the truth to students. These themes in the songs could be used as a lead-in to a unit about colonialism, residential schools, or the modern lives of Indigenous people in Canada, or they themselves could be the basis for discussion. In addition, bringing in contemporary music styles reinforces a much-needed concept of the Aboriginal person as living in the present, not just the past. There are aspects of traditional music mixed into the songs as well, bridging two discrete music styles to make a beautiful mix. This resource can also appeal to a large range of ages, especially high school students. 

There are a couple of challenges involved with using this as a resource. First of all, a teacher would want to check the school’s policies on listening to curse words in the classroom. Secondly, it might be harder for students to weigh the gravity of the issues discussed if they are in a song, although with proper scaffolding and instruction, that should not be a problem since the music should accompany a lesson or circle discussion about the themes. In addition, a couple of the songs feature Joseph Boyden, who is a controversial figure within the wider Indigenous community due to his unverifiable Indigenous identity, so any use of the songs that he is featured would need to be prefaced with a discussion of authenticity and the role identity plays within Indigenous work. On that note, with the emphasis placed on identity, it would be a necessity to be mindful of the specific identity of the people in the band and to not generalize their feelings and experiences to all Indigenous people. 

Future Practice

A Tribe Called Red would be a great resource to use in intermediate classrooms. A great way to use this resource would be to have students listen to the album We Are The Halluci Nation, pick a song they connect with and reflect on the deeper meaning through a multimodel project. The project would be summatively assessed through a rubric. Projects could vary from designing an album cover, to Illustrating key scenes from the text and describing their importance, to producing a music video from the lyrics, to even creating an Instagram or Snapchat story from the perspective of one of the characters in the song of choice. 

A specific lesson could include using two specific songs from We Are The Halluci Nation, particularly Before Ft. Joseph Boyden and Soon. In both songs, the lyrics carry powerful meaning, specifically about a boy named Charlie. Charlie, or Chanie Wenjack, was a young boy who had escaped residential school in 1966. He died on his 650 km journey home on the railway tracks. A Tribe Called Red wants to shed light on the atrocities that happened and relay the message that their drums are still beating, they are still here and they will never give up. (Kinos-Goodin. G. 2016) From these two songs, students could create their own music videos, the class could be split into two, or into 4, each picking a song to recreate into a video. Assessment would be done through a rubric to ensure that requirements were met. Students would have numerous classes to work on this; once the project is over, all music videos would be watched and then students would be given the rest of class time to write a reflection on how they felt and what they thought of the different perspectives each video made. Before the project is presented to the students, the class would be spending a lot of class time on residential schools and the political side of injustices that occurred. This context is very important for a well-rounded and supportive lesson. 

Works Cited 

Kinos-Goodin. G. (2016, Sept 14). A Tribe Called Red has never been louder Retrieved from: http://www.cbcmusic.ca/posts/12662/first-play-a-tribe-called-red-we-are

Many Guns. H. (2017, March 29). A Interview with a Tribe Called Red’s Ian “DJ NDN” Campeau Retrieved from:http://www.firstnationsdrum.com/2017/03/a-interview-with-a -tribe-called-reds- ian-dj-ndn-campeau/ 

A Tribe Called Red: Retrieved from: http://atribecalledred.com/ 

A Tribe Called Red: Retrieved from: https://soundcloud.com/a-tribe-called-red 

Hip Hop. Wikipedia. Retrieved from: https://en.wikipedia.org/wiki/Hip_hop 

Press Kit. A Tribe Called Red: Retrieved from: http://atribecalledred.com/bio/

[ourcommonbowl-blog]

The Orca Chief

Jasroop Singh, Lauren Keen, Leon Lee, Andy Yi

Description and Rationale

In a beautifully illustrated story, Roy Henry Vickers shares a retelling of a story that was told to him in 1974 that was known by the people of the Tsimshian village near Prince Rupert (Vickers and Budd, 2015). In the first pages, Vickers shares how he came to know this story which was told to him by an elder named Ya-a Spencer, who says “the story belongs to your grandmother’s family and has been handed down for generations” (Vickers and Budd, 2015). The Orca Chief is an old story about four men from the village of Kitkatla, who set out to sea on a mission to catch fish to bring back to their village to feed the people (Vickers and Budd, 2015). After a long day, the crew grew tired and carelessly decided to drop their anchor to rest, disregarding what marine life might live below (Vickers and Budd, 2015). The anchor landed on top of the home of the Orca Cheif who asks his strongest warriors to bring the men and their boat down underwater to teach them the values of care and respect (Vickers and Budd, 2015). The men were afraid, but the Orca Chief was wise and kind and wanted to teach them how to respect the ocean and the marine life and the importance of giving thanks for the food that the land and water provides (Vickers and Budd, 2015). We explored the Surrey Public Library and came across the Orca Chief. We chose this specific resource because this story is told by Roy Henry Vickers (2015), a well-known First Nations artist and story teller. We were drawn in by all his beautiful art work and the lessons that the Orca Chief provides the readers. This story has been shared for generations and provides valuable lessons that still need to be learned today. We as humans need to care and respect the land and the Orca Chief shares this message in a beautiful and meaningful way.

The Role of Indigenous Knowledge and Perspectives

Vickers first heard the story from an elder in Kitkala, also known as Tsimshian village that was near Prince Rupert where he grew up (North, 2015). According to the Tsimshian homepage, the Tsimshian Nation is comprised of four major clans: Ganhada (Raven), Gisbutwada (blackfish or killerwhale), the Laxgyibuu (Wolf) and Laxsgiik (Eagle) and the inheritance is known to pass through the mother’s side. This story demonstrates Indigenous knowledge because it passes on the important message of care, respect and appreciation for all animals and spirits, even when hunting and fishing for food (Halpin & Margaret, 1990). Vickers shows great interest in promoting the goal of marine conversation and caring for the environment and shared in an interview his strong opposition to the Northern Gateway project and Keystone XL pipeline projects (Write, 2015). The book Orca Chief looks into the environmental ethic of Indigenous cultures from time immemorial (Write, 2015). Orca Chief is portrayed as a merciful creature, teaching the hunters stewardship to harvesting in the sea to ensure the survival for all, and emphasizing the thoughtful value of respecting the resources around us. For Indigenous peoples, the practice of unifying the ecosystem and appreciating all living things were not only basic to human survival but because of the deep understanding that all living things have a spirit (Write, 2015). Vickers explains that it’s not about catching the biggest fish in the sea, but letting it go and the kindness of such an act could lead the fish to breed and eventually bring greater good in the future (Write, 2015). This story carries the message of how everything is connected and how important it is to be grateful of the resources provided to us by the land and not to abuse them (Write, 2015).

Benefits and Challenges

While exploring and critically analyzing the book Orca Chief, we first wanted to ensure that the story was credited to the family in which the story belongs to and. Additionally, before choosing this as a resource, we wanted to ensure there was no cultural appropriation that occurred with the artwork that was being used. After learning about Roy Henry Vickers we decided to research Robert Budd who is listed as a co-author of the Orca Chief and other known published stories of Roy’s. We learned that he is not Indigenous and the story doesn’t belong to him (Vickers and Budd, 2015). We were concerned about whether Budd’s contribution to the story could take away from the authenticity of the story, but upon further research that was not the case. These are all oral legends from thousands of years ago, thus things get lost in translation, and they are not exactly like the original (Write, 2015). We do not know how Vickers “interpreted” the story. “The story tellers say that they do not change the morals and meaning of the story, but these stories are brought up in a period where the values are the same” (Write, 2015). However, different people can interpret the same story differently. The same goes for the value and message of the story.

We chose to use this resource, because we found the richness of the benefits of using this story. Roy Henry Vicker’s father was a fisherman, who has Tsimshian, Haida, and Heiltsuk ancestry (Artist Biography - Eagle Aerie Gallery, The Art of Roy Henry Vickers, 2017). His mother was from England, and later adopted into the Eagle clan at Kitkatla, B.C. (Artist Biography - Eagle Aerie Gallery, The Art of Roy Henry Vickers, 2017). This makes Vickers part of the Eagle clan as well (Vickers and Budd, 2015). This fusion of heritage offers interesting diversity and perspective to Roy’s artwork and storytelling. Roy is able to share his culture and family history through published books and has his own art gallery in Tofino (Artist Biography - Eagle Aerie Gallery, The Art of Roy Henry Vickers, 2017). The gallery features the totem poles that he made, along with other beautiful art pieces of his (Artist Biography - Eagle Aerie Gallery, The Art of Roy Henry Vickers, 2017). Another benefit that this resource brings is the message of the story that we believe should be understood and practiced by all. The message of love, respect and care for all living thigs. This message strongly aligns with both author’s values, as both Roy and Budd have publicly expressed their opposition to both the Northern Gateway and Keystone XL pipeline projects, and have drawn on the power of the moral fable to promote the goal of marine conservation and respect for the environment” (Write, 2015).

Integration into Teaching

“The Orca Chief is just one of the many northwest coast legends that has “layers of learning”, Vickers explains this in his interview with CBC news journalist (North, 2015). This resource has many angles in which students can explore the importance of respecting and caring for the land and all that inhabits it. The Orca Chief can be used in many different subjects and we strongly believe that it would be a great resource for teachers to use in K-12. For instance, the younger students might explore the themes and values that are rooted in the The Orca Chief. Care and love are values shared in this story, which could lead to students exploring and identifying how these values connect to their own lives and on the land that we inhabit today. Land-based learning and getting students to spend time in nature is one of the most impactful ways we can get students to connect to this story on a personal level. We talked about the benefits of taking students on fieldtrips such as beach clean-up. This way, students are learning firsthand the negative impact humans can have on nature when they forget to care for it but also how they themselves can make positive change.

For the older students, teachers may choose to get students to explore current events involving environmental issues such as climate change, marine conservation and respect for the environment. We also discussed having students work on inquiry based projects, where students would identify areas of environmental issues that they are passionate about how they are going to go about to make positive change. From a creative standpoint, students can interpret the story by creating a series of tableaus or reflect by writing a poem or a visual art piece. This story connects seamlessly to the First People's Principles of Learning embodying that “Learning involves recognizing the consequences of one’s actions” and “Learning ultimately supports the well-being of the self, the family, the community, the land, the spirits, and the ancestors” (First People’s Learning Resources, 2017). The beauty of using story in education is that there are a number of ways in which storytelling can enhance intercultural understanding and communication. As explained by Roy Henry Vickers, the Orca Chief provides many layers of learning and “at the core of the teaching is love and respect for all” (North, 2015).

References

Artist Biography - Eagle Aerie Gallery, The Art of Roy Henry Vickers.

(2017). Royhenryvickers.com. Retrieved 29 June 2017, from

http://www.royhenryvickers.com/artist

Campbell, K, & Armstrong C. (n.d). Tsimshian Home Page. Retrieved July 11 2017, from http://sd52.bc.ca/abed/tsimshian/tsim_index.html

For First Peoples Classroom Resources. (2017). Retrieved from http://www.fnesc.ca/wp/wp- content/uploads/2015/09/PUB-LFP-POSTER-Principles-of-Learning-First-Peoples- poster-11x17.pdf

North. (2015). Best selling aboriginal artist's new book teaches respect for the environment. CBC News. Retrieved 28 June 2017, from

http://www.cbc.ca/news/canada/british-columbia/roy-henry-vickers-brings-tale-of-orca-

chief-to-life-1.3067956

Orca Chief Book - Eagle Aerie Gallery, The Art of Roy Henry Vickers. (2015). Royhenryvickers.com. Retrieved 28 June 2017, from

http://www.royhenryvickers.com/gift_shop/product/689

Vickers, R., & Budd, R. (2015). Orca Chief. Madeira Park, British Columbia: Harbour Publishing.

Write, S. (2015). Orca Chief brings Indigenous wisdom to oceans under threat | Windspeaker - AMMSA. Ammsa.com. Retrieved 28 June 2017, from http://www.ammsa.com/ publications/windspeaker/orca-chief-brings-Indigenous-wisdom-oceans-under-threat

[ourcommonbowl-blog]

Susan Point, Spindle Whorl - Teacher’s Study Guide 2017

Asha Jhuboo, Ashley McPherson, Ed Gillis, Sarah Wenz

Our resource is an excellent teacher’s guide on the art of Musqueam artist Susan Point. From 18 February to 28 May 2017, the Vancouver Art Gallery (VAG) hosted the first stand-alone exhibit of works by Ms. Point, whose career spanning over three decades is most renowned for her motif of the spindle whorl (a wooden wheel used in weaving wool) as a base for traditional Musqueam artistic expression (VAG, 2017, 4). The accompanying teacher’s guide has classroom-ready activities and lessons starting with studying the artist’s biography and elements of Coast Salish art, then several hands-on applications of artistic structures common to Ms. Point’s repertoire: stylized animals, spindle whorls, and depictions of positive and negative space. There is even a place-based activity in which students seek out Ms. Point’s oeuvres throughout the Lower Mainland and beyond. 

The teacher’s guide resource, with all information and worksheets, is available as a free PDF at: https://www.vanartgallery.bc.ca/pdfs/SG_SusanPoint.pdf. 

We were intrigued by this resource because it is ready-to-use in art classes at all grade levels, as an authentic example of contemporary Coast Salish art by a living, female Musqueam artist rather than relying on stereotypes and craft-based approaches to incorporating Indigenous culture in the classroom. Ms. Point “push[es] the boundaries” in interpreting traditional forms with modern representations, and by being a woman carver in the conventionally male field of Indigenous sculpture (VAG, 2017, 4). 

According to Ms. Point’s web site, she inherited her knowledge of Musqueam art among other cultural values and practices from “her mother Edna– who learned by her mother, Mary Charlie-Grant) (Point, n.d.). It descends from the traditional (unceded) territory of the Musqueam people, now shared with the western part of the Greater Vancouver Regional District. As for the teacher’s guide, which shares insight into the elements of traditional Coast Salish art, it was designed by Sarvenaz Amanat with the copyrights attributed to the Vancouver Art Gallery. Sarvenaz is connected to First Nations communities and felt comfortable creating this guide. The information from the guide came primarily from the curatorial staff and the didactic panels at the Art Gallery. The gallery did try repeatedly to contact Susan Point to collaborate with her on the resource but they were unable to make contact with her. However, they did work with Susan’s son a small amount on the resource guide as her son works very closely with her. The Art Gallery’s School Programs staff is also continually looking for feedback from the teachers that have used the resource guide. The constructive feedback that they have received will be considered when making the next edition of the guide (S. Rome, personal communication, June 26, 2017). 

There are many benefits in using this resource. First of all, Susan Point is an acclaimed and popular artist who has put forward remarkable work. She portrays the Coast Salish culture in a unique way. Getting to learn about her and her work will be beneficial to students of all ages. Consequently, the latter’s knowledge about Indigenous art and culture will greatly increase. Students can also develop an admiration and liking for art when they study the work of Susan Point. They can see and appreciate a different type of art than that they are used to. Furthermore, this resource is already well structured and provides activities and ideas to teachers who have to include Indigenous perspectives in their lessons as per the guidelines of BC’s revised curriculum. This resource provides pre-activities and “follow-up activities to facilitate discussion” (VAG, 2017, 3) and this will inevitably develop students’ creativity and learning about the culture, art and ways of living of First Nations. The activities that are available in this guide are very simple, fun and can be done without extra cost. They are adaptable and are appropriate for the different grade levels. 

Unfortunately, there are a few challenges in using this resource. This guide was written to be used for activities before and after the students’ visit to the Vancouver Art Gallery featuring Susan Point’s exhibition which is no longer being shown to the public. The teacher can however overcome this challenge by using slideshows of the artist’s work in class, or the 160-page illustrated book published by VAG to accompany the exhibit (available at the Gallery, Chapters or Amazon). There is also a list of places in Metro Vancouver where her work is featured and the teacher can organize a field trip in order to show the students her work. This experiential activity can help students in better understanding Susan Point’s work. Another issue is the lack of information for citation purposes. The guide does not provide any information about the author or curriculum developer of this resource, and the list of websites is general. 

This is a resource that was created with the expectation that teachers will use and incorporate it within their classroom teachings. Due to the fact that this particular resource is posted on a website for all to access, it can be assumed that permissions have been granted for public use. When using an Indigenous resource, one must take a considerate amount of time to introduce the artist, their nation and a brief history (included on VAG, 2017, 5). This resource not only outlines where to begin, but it also serves as an exemplary guide for teachers as they make their way through an entire unit. There are detailed lessons and activities that can easily be modified to allow accessibility for any grade level. One beneficial part of this resource is that it can be included cross-curricularly: not only is there a focus on the art itself, but the aspects within the art can apply to mathematics (shapes, lines, symmetry), language arts (the stories behind the animals used in the art), social studies (researching the history of the artist and her genealogy), physical education (exploring outdoors/ touring the city to view the public works of art), and science (the use and function of the spindle whorl). The lesson that I believe must be included is that of the “About the Artist” research task. It is of utmost importance to know about the artist before one dives into their works and creations. This is an important acknowledgment and introduction to the individual, her roots, and history. 

All lessons can be made as complex or as simple as the teacher would see fit. Depending on the materials and technology available, certain lessons can be used, while others may not. For secondary art students, there could be a focus placed on the Coast Salish style and formal art elements. While for elementary students, there could be a focus on using the shapes to create the abstract discussed in the Stylized Animal Creations lesson. Though the exhibit for which this resource was created is no longer running, Susan Point’s website and public works of art found around Vancouver can serve as a perfect place to view and experience her pieces. As a final suggestion, Susan Point has often taken part in Artist in Residence programs throughout Greater Vancouver in which she has graciously spent her time in schools teaching students about her art and practice with the spindle whorl. To find out her availability, or if you have any questions, you can connect with her directly through her website: https://susanpoint.com/connect/, there is also a frequently asked questions section that is suggested to check first. 

Resources 

Vancouver Art Gallery (VAG). (2017). Susan Point: Spindle Whorl (Teacher’s Guide). Retrieved online: https://www.vanartgallery.bc.ca/pdfs/SG_SusanPoint.pdf 

Point, Susan (n.d.). About. Retrieved online: https://susanpoint.com/about/

[ourcommonbowl-blog]

Nuyem Weaver by Joe Starr

Lara Deglan, Nicole Paccagnan, Christoph Schaub, and Elisha Smirfitt

Resource summary and rationale 

Nuyem Weaver is a collection of 11 personal short stories written by Joe Starr, from the Haisla Nation (Salmon Clan). Joe Starr is a Haisla Hereditary Chief who taught for many years at the Bella Bella Community School. In addition to writing, he is a non-traditional Haisla artist who makes quilts. Joe Starr’s collection of stories in Nuyem Weaver was inspired by both personal stories and the traditional Haisla stories he heard while growing up in Kitamaat, BC. This book interweaves traditional storytelling with modern themes, while drawing on personal narratives about Haisla and Heiltsuk characters. We chose this resource because we wanted to highlight a local indigenous book that is geared towards secondary students. Currently, Nuyem Weaver can be ordered through Strong Nations, a local Nanaimo bookstore and publishing company as well as by directly contacting the author at jstarr501@gmail. 

Indigenous knowledge, content, perspectives, and genealogy 

The collection of 11 personal stories in Nuyem Weaver share multiple, rich perspectives regarding Indigenous knowledge, ways of learning, culture, and tradition. Each story uniquely touches on many of the First People's Principles of Learning, allowing the reader to feel immersed. They also engender a deeper understanding as to the meaning and importance of these principles to Indigenous people on the West Coast of British Columbia; primarily, how these principles are lived by our Indigenous communities. The stories are abundant with descriptions of traditional West Coast food and the sustainable ways in which it is harvested and prepared. Generational roles are illuminated as the knowledge surrounding these food sources are passed down through generations. These generational roles of Indigenous peoples are uniquely highlighted as each story is told from a different perspective, from child to Elder, and within the various stories the relationships between the different generational roles are highlighted through genuine interaction and teachings. 

A strong connection to the land is felt as the reader experiences the stories with descriptive writing that allows one to feel fully immersed in the experience. The significance of traditions such as potlatches, pole raisings, and the construction of big house are touched upon and explained in great detail throughout the stories. In addition, many of the cultural practises that accompany such events and how they have transformed with time, are described to the reader allowing for a deeper connection and understanding of Indigenous traditions. A particular emphasis is placed on the clash that seemingly sometimes can surface between traditional ways of doing things and how the modernized world is changing these ways. As the author shares the story of a two-spirited potlatch, the emphasis on the modern is balanced with the traditional methods implemented in bringing together the community to share in the potlatch. The great descriptive detail used as the characters in the stories explore their own identities, and define their relationships within their families, and their communities, becomes captivating. Throughout the stories, the author emphasizes the many characters’ strong connection to the lands they inhabit, and the connection shared with the spirits and the ancestors. The stories in Neyum Weaver truly are a journey through the traditional ways of British Columbia's West Coast Indigenous Nations. As all the stories are set in traditional West Coast British Columbian territories, it is easy to map exactly where the stories are taking place; thus, the reader can even further immerse themselves within the experience, as he/she is invited to explore these traditional societies seemingly built on reciprocity.

Benefits and challenges of using this resource 

Currently, teachers may purchase copies of Nuyem Weaver directly from Strong Nations, a publishing house and retail supplier of Indigenous books. While available online at Strong Nations’ website for a reasonable price, inaccessibility presents a minor challenge. It should be mentioned, however, that the book is also available directly through the author whose email is printed on the inside of the first page and mentioned above. This also makes it very easy to contact and communicate with the author directly. Personal communication with friends of the author speak to his approachability and willingness to engage when reached out to. 

Overall, as a collection of short fiction, Nuyem Weaver is a particularly useful resource. While acquiring a class set would be difficult, the individual stories are short enough to read aloud and/or photocopy for students. Each story told within this resource provides a unique multi-layered message that students would be able to not only gain an Indigenous understanding from, but also explore the cultural perspectives of West Coast British Columbia Indigenous peoples. One story, The “Bracelet”, involves Two-Spirited characters and speaks a message that “culture is always changing and evolving” (Starr, 2015 p. 81). Another extraordinary benefit of using Nuyem Weaver in the classroom is how easily, and naturally, the First People Principles and practices are brought to life throughout the stories. Because the perspectives from which the different stories are told switch between vastly different characters, the reader is able to realize and explore these principles from a multitude of perspectives.

In the classroom 

We feel that Nuyem Weaver is a great resource that has numerous uses within the classroom, particularly in Languages Arts and Social Studies. Because of the content and explicit language, this resource would be best incorporated into grade 11 and 12 classrooms. Within a Language Arts class, Nuyem Weaver is an excellent resource for Literature Circles, where groups of students can pick different short stories from the book and then spend time discussing and asking questions about literary elements, such as theme, metaphor, and symbolism within the stories. Once discussed fully in their circle, students could then spend time in new, mixed circles where they can discuss and summarize their short story to their new group members. In addition to their discussion, groups can find connections between the stories they read, in regards to theme, content, and/or tone. Likewise, within a Social Studies or History class, students could pick a short story within Nuyem Weaver and research the setting of the story and the history of the land between Indigenous and non-Indigenous people in that area. From there, students could also research treaties that were created and/or broken in regards to the Haisla and Heiltsuk Nations, as well as the most prominent issues that affect their nations. An extension of this exercise would be to have the students then write a reconciliation letter to the Haisla Nation or Heiltsuk Nation from the perspective of the Canadian Government or the non-Indigenous people in the area.

Nuyem Weaver could also be a resource used in Arts classes by serving as inspiration for artistic projects. Within a Grade 11 or 12 Drama class, students could engage in character analyses of some of the characters within the short stories. Students could answer the “Necessary Questions” that need to be answered in order to bring a character from Nuyem Weaver to life, such as setting, time, relationship, wants/needs, given circumstances, and moment before/after. Teachers could also create a lesson where students develop their own character inspired by a character they analyzed, and then create a corresponding monologue to perform. As an extension to this exercise, students could also write an additional scene that could be added to their chosen short story, as if the story were to continue.

[ourcommonbowl-blog]

Missing Nimâmâ

Inderpal Chatha, Christian Smith, Keanen Schnoor and Nicole McCall

Missing Nimâmâ (2015) is a fictional children’s storybook written by Melanie Florence – who is a Toronto based writer of Cree and Scottish heritage, and illustrated by Francois Thisdale – who is an award winning illustrator of several highly acclaimed picture books. Written in free verse, the text of the book is split up into easily readable paragraphs and the story itself is narrated in alternating voices. The story directly follows the life of an Indigenous girl named Kateri whose mother went missing during her childhood. She is taken care of by her grandmother and readers get to witness Kateri transition through different stages of her life without her mother’s physical presence. We chose this book because although the story is fictional, it is based on reality. The unique and not so often talked about subject matter directly relates to the very real issues of gender-based violence and the disappearance and murder of Indigenous women within Canada. This is a great resource that can be used to educate both children and older adults about matters that are often ignored or swept under the rug, in a manner that is deemed to be suitable for the particular audience that will be using it. The storybook as a whole showcases deep affection, loss, tolerance, and encourages the acceptance of circumstances that are outside of one’s control. Further, the book introduces words from the Indigenous language of Cree, which promotes the use of Native American languages and the exploration of Indigenous culture. The fact that the Cree language is used in this story is very powerful because it really helps us connect with the culture of those individuals who had their language and traditions unjustly taken away from them due to colonialism. Overall, Missing Nimâmâ is very well laid out and has the ability to spark the curiosity of any reader. The resource itself is very accessible and can be found through virtually any public library or purchased through retailers such as Amazon and Chapters. 

Missing Nimâmâ is a very unique piece of literature that tackles serious issues that affect Indigenous women. As we mentioned before, Kateri – the story’s main protagonist, is a young girl who had her mother taken away from her. After the incident, her grandmother steps in and takes on the role of a nurturer as her main mother figure. When Kateri is young her grandmother explains that her mother is "lost", however when Kateri gets older she is told the truth about her mother. This story really highlights the importance of intergenerational roles in Indigenous culture and also shows the hardships that Indigenous women go through based on gender and cultural inequality. This story also focuses on the aftermath of the individuals that had gone missing and the families that they left behind. This sentiment is shared when author Melanie Florence and illustrator Francois Thisdale accept the Children's Literature Award for their story: "I wrote Missing Nimâmâ to give a voice to the women and girls whose voice was stolen from them through violence," Florence said when accepting the award. "And to give a voice to the women and daughters they left behind."(CBC/Radio Canada, 2017) 

Intergenerational roles have an important connection in this story, the author's background, and within the First People's Principles of Learning. Melanie Florence is a writer of Cree and Scottish heritage who resides in Toronto. Her interest in writing about Native themes and characters came from a close relationship with her Grandfather who was of Cree descent (Melanie Florence, 2015). This also explains the intergenerational relationship between Kateri and her grandmother. The idea of learning being something that involves generational roles and responsibilities is also highlighted in the story. Since Kateri’s mother is removed from the family all of Kateri’s life lessons are acquired from her grandmother. The story also explores the heartache that the removal of one generation in a family can have on the member who was removed from their family and the people they left behind as the previous quote from Melanie's acceptance speech mentions. There are also many colorful images in this story that Francois Thisdale manages to convey the leadership role that the elders portray by illustrating the characters as just close-ups of the characters faces to highlight their eyes or the windows to the soul. This is a little jarring at first but also shows that the characters are always looking out for one another's best interest at heart. 

The difficult subject matter of Missing Nimâmâ makes this resource one that should be handled with a great deal of sensitivity. However, we feel that if handled appropriately, Missing Nimâmâ has the potential to be an excellent classroom resource, one that can be used across a wide range of grade levels and subject areas. While searching for a resource, our group was drawn to Melanie Florence’s picture book for its ability to speak to a desperate national tragedy in a beautiful and engaging way. The illustrations are stunning, giving hope and light to a devastating issue. The issue of missing and murdered Indigenous women is one that is all too often swept under the rug by both Federal and Provincial governments, the media, and police organizations. Further, it is an issue that is altogether missing from school curricula. While educators have the responsibility to inform and engage students with Indigenous issues such as Residential Schools, missing and murdered Indigenous women are often ignored. Melanie Florence cites Missing Nimâmâ as a book that “gives voice to the voiceless”(CBC Books, 2017). We admire Florence’s dedication to offering a voice and representation to these women who have suffered terrible fates. Ultimately, the issue of missing and murdered Indigenous women is one that Canada must face. Awareness and discussion goes a long way, and can start in our classrooms with our youngest Canadians. 

Of course, it is a daunting task for an educator to share such a dark topic with their classes. Teachers, parents, and guardians may feel that it is not necessary to bring awareness of this issue to school-aged students. Melanie Florence addressed this concern in an interview with CBC, stating that “children have the capacity to understand dark issues” and that “[we] don't need to talk down to kids”. She feels that “kids are smarter than we give them credit for”, and that missing and murdered Indigenous women is a topic that can be introduced to children, if done properly (Rogers, 2016). Since Missing Nimâmâ deals with the topic of loss, appropriate resources should be put in place to ensure that students who may feel triggered by this content are adequately supported. Students should be given a safe place to discuss any negative feelings that might arise, such as the school counsellor, Aboriginal support worker, and the teacher. Open communication with parents and administration will further ensure that all members of the learning community are aware of the difficult information that will be shared. 

Image retrieved from: https://goo.gl/images/B4pSVk 

There are numerous ways that this resource could be integrated into teaching practice. As early as Grade 5, as supported by the B.C. curriculum, Missing Nimâmâ can be utilized in a Social Studies unit. This hypothetical unit would focus on exploring modern mistreatment of Aboriginal peoples in Canada and also the legacy of wrongdoing. The big idea in this unit would be “Canada’s policies and treatment of minority peoples have negative and positive legacies” (“5 Social Studies”). The content would be “human rights and responses to discrimination in Canadian society” (“5 Social Studies”). The curricular competencies would be “mak[ing] ethical judgments about events, decisions, or actions that consider the conditions of a particular time and place, and assess appropriate ways to respond” and “differentiat[ing] between intended and unintended consequences of events, decisions, and developments, and speculate about alternative outcomes” (“5 Social Studies”). Missing Nimâmâ would be a very effective way of beginning this unit. The text is ambiguous enough to encourage students’ questions but informative enough to provide students a cursory background in the mistreatment of Aboriginal people. The text could potentially lead into discussions about the Highway of Tears and associated issues of poverty and discriminatory practices/attitudes. The visual medium of the text provides students an accessible introduction to some challenging and mature themes. 

From an elementary perspective, Missing Nimâmâ can be introduced as early as Grade 5. However, the text could be equally utilized in a secondary environment. For example, in Grade 9 Social Studies, Missing Nimâmâ would be compelling way of exploring perspectives on ongoing Canadian systematic discrimination as well as contemporary attitudes/biases towards Aboriginal peoples. In this unit, the big idea would be “disparities in power alter the balance of relationships between individuals and between societies” (“9 Social Studies”). The content would be “discriminatory policies, attitudes, and historical wrongs” (“9 Social Studies”). The curricular competency would be “recogniz[ing] implicit and explicit ethical judgments in a variety of sources” (“9 Social Studies”). Using a resource that could be perceived as a child-oriented picture book in a secondary classroom may seem unorthodox, however, Missing Nimâmâ would provide students nuanced insight into possible Aboriginal perspectives of systematic discrimination. Students could be challenged to consider the ways a child or a family would perceive injustice like the unsolved disappearances surrounding the Highway of Tears and the Downtown Eastside. Missing Nimâmâ is unique because it approaches these issues from a personal and subjective perspective. Additionally, this resource would be very effective in place-based learning because it connects directly with current contentious political issues. 

References: 

BC’s New Curriculum 5 Social Studies, 2017, https://curriculum.gov.bc.ca/curriculum/social-studies/5. Accessed 23 June 2017. 

BC’s New Curriculum 9 Social Studies, 2017, https://curriculum.gov.bc.ca/curriculum/social-studies/9. Accessed 23 June 2017. 

CBC Books. (2017, June 19). How Melanie Florence and François Thisdale wrote a picture book about missing and murdered Indigenous women. Retrieved June 29, 2017, from http://www.cbc.ca/books/2016/10/melanie-florence-how-i-wrotemissing-nimama.html 

CBC/Radio Canada. (2017). Retrieved June 22,2017 from, http://www.cbc.ca/books/mobile/touch/2016/11/melanie-florence-francoisthisdale-win-30k-td-canadian-childrens-literature-award.html 

Florence, M., & Thisdale, F. (2015). Missing Nimâmâ. Richmond Hill, ON: Clockwise Press. Florence, Melanie. (2015) Retrieved June 22,2017 from, http://www.melanieflorence.com/my-story 

Rogers, S. (2016, November 21). How Melanie Florence turned the stories of missing and murdered Indigenous women into a children's book. Retrieved June 29, 2017, from http://www.cbc.ca/radio/thenextchapter/esta-spalding-melanieflorence-and-kenneth-oppel-1.3853806/how-melanie-florence-turned-the-storiesof-missing-and-murdered-indigenous-women-into-a-children-s-book-1.3855047

[ourcommonbowl-blog]

Voices of the Canoe

Miranda Oak, Ainsley Harrison-Weiss, Laura Ulrich, Lucas Thielmann 

Our resource is composed of a series of videos contributing to the Voices of the Canoe website, hosted by the Museum of Anthropology at the University of British Columbia located on the unceded territory of the Musqueam Nation. This project communicates the importance of canoes and canoe building to multiple Indigenous cultures; “The Voices of the Canoe website presents a range of contemporary and historical documents to assist educators and students in learning the history of Fijian, Haida, and Squamish canoe traditions and their ongoing relevance to Indigenous people” (Voices of the Canoe, 2013).  These Nations are the focus of the project due to an existing relationship between these nations and the Museum of Anthropology.  The Voices of the Canoe website presents these resources as intended for social studies, but also demonstrated within these videos are Indigenous understandings of science. These videos demonstrate that there are many valid and different ways to know and understand the same laws of nature.  BC's science curricula almost exclusively focus on teaching science through the scientific method, with the underlying message of Eurocentric understandings being the most effective and superior.  Within the ability to skillfully craft canoes as done by the Fijians, Squamish, and Haida is the knowledge and understanding of many scientific concepts present in BC's science curricula, acquired through different means.  A significant portion of the canoe construction extends past simply understanding the laws of physics, and infuses the importance of art, spirituality, cooperation and collaboration, and respect for the environment.  The Eurocentric science curricula tends to categorize and compartmentalize various concepts, while Indigenous ways of knowing contained in this resource exemplify the importance and value of wholistic knowledge.

The series of videos of this resource, can be found on the Voices of the Canoe website:

http://moa.ubc.ca/voicesofthecanoe/evidence/#comboFilters%5Bmedia%5D=.video

Connection to Indigenous Knowledge

Many shared aspects of Indigenous knowledge and learning are illustrated in these videos, without ignoring the uniqueness of various Nations.  The oral nature of the video allows for a more authentic learning experience for the students.  They are able to listen to the teachings as well as observe the activities similarly to how the master carvers learned how to create canoes from their families.  The three knowledge systems presented, Fijian, Haida, and Squamish emphasize the importance of canoes to island dwelling and coastal nations, while highlighting the uniqueness of each culture.  The members of all three nations, including the Haida carver Reg Davidson from Old Masset, Ray Nataora from the Squamish nation, and Jitoko Moceibures from Navidamu in the Lau group of islands in Fiji, describe how they learned the art of carving from family passed on orally, observationally, and experientially.  The interconnectedness of knowledge is illustrated through the complete journey of canoe carving, from the spiritual and respectful relationship with the tree, to the science of model building, to the art displayed on the hull of canoes, to the stories tied to the canoe, to the blessings placed on the completed canoe.  The process of carving is a wholistic experience embedded in the history and traditions of the three nations.  This resource highlights the importance of history and its influence on the present. The connection to place is underlined by the teachers, unfinished canoes found in the forest, and the generational inheritance of knowledge.  These resources are especially relevant as they include localized knowledge; the Squamish territory encompasses much of Greater Vancouver, allowing students to gain a deeper understanding of their own environment.

Benefits of Using This Resource

There are several aspects of these videos that make them a valuable resource for teaching science.  First, many of the videos illustrate Indigenous approaches to research and technology, in the context of canoes.  Ray Natraoro shows us how form and function are related when engineering a canoe.  Meanwhile, Reg Davidson explains the importance of using a model to design a canoe, and the benefits of collaboration.  Second, these videos demonstrate Aboriginal pedagogies, breaking away from our Eurocentric expectations.  The speakers do not stand in front of a whiteboard.  They do not act as mouthpieces for an abstract world of knowledge.  Instead, we see them in their homes and workspaces.  In many of the videos, the speakers are working as they teach. In others, there is a feeling that they have just taken a break from a project.  These videos break that old adage "Those who can't do, teach" and show us teachers who are still at the heart of doing.

Challenges of Using This Resource

Like many resources, Voices of the Canoe is not without challenges.  The most relevant lesson plan on the website, "Resources and the Canoe", has capitalistic undertones.  It is strongly focused on resource use and sustainability, rather than on stewardship and nurturing a relationship with the land.  For this reason, we specifically chose to focus on the videos, foregoing the lesson plans entirely.  However, the videos still present challenges for use in a science class. First, the links to science are not explicitly clear.  When using these resources, the teacher may wish to highlight the connections to the curriculum for the students.  Students who have gone through BC’s Eurocentric school system may be more accustomed to having concepts directly explained and segregated into distinct topics. This challenge is not due to the resource, however, but to BC’s education system.  Some science teachers may echo this legacy, having been educated by BC’s teacher education programs, possibly pressuring other educators to divide the information into distinct topics.  It is important for educators to develop their understanding, if they have not already, of wholistic knowledge.  If this understanding is not developed effectively, there is the risk that these Indigenous teachings will be taught through a Eurocentric lens, which defeats the purpose entirely.

Second, the videos can be difficult to hear. In some clips the audio is obscured by the background sounds of canoe construction. Thankfully, not all of the videos suffer from this; many are also short, and could be played multiple times if information is missed.  Third, not all of the videos are on canoes, but many still hold valuable scientific insights. For instance, it may be confusing to students to watch a video on weaving while learning about canoes. However, Gladys Vandal and Irene Mills make an excellent and valuable point in the "Haida Weavers" video; they talk about experimenting with the technology, trying new things, and adapting old methods to a contemporary context. Lastly, as both the Squamish and Haida nations are within the area now known as British Columbia , students may think that their practices represent all First Nations cultures in BC. This misunderstanding can be problematic, as there 198 Nations within the province, each with their own distinct culture. Educators would need to be clear that the information in these videos has a very limited scope, and we strongly recommend that educators seek information regarding canoes from a Nation in their local area. For example, some of the Southern Interior Nations used bark canoes, rather than the dugouts depicted in the videos. The wide range of topics covered in this collection makes it very adaptable, educators can cater it to their students and the ideas they wish to focus on.

Applications of Resource in the Classroom

Using the resource videos from the Voices of the Canoe website, we have designed a lesson activity that could be used in a grade 8 science classroom. Links to the B.C. curriculum can be made within the big idea that the behaviour of matter can be explained using the kinetic-molecular theory and atomic theory. Within this lesson, content would include the kinetic molecular theory, as well as First Peoples’ knowledge of local geological formations - specifically, with respect to the ocean, rivers, tides, and locations that would be appropriate to dock a canoe (Baker, Alroy and Bob). Students will have the opportunity to process and analyze information by applying First Peoples’ perspectives and knowledge, other ways of knowing, and local knowledge as a source of information, and by using scientific understandings to identify relationships and draw conclusions. Students will apply and innovate through contributing to care for self, others, community, and the world through personal or collaborative approaches, and through the co-operative design of projects. Communicating will express and reflect on a variety of experiences and perspectives of place, as students explore how our waterways that surround us play a major role on impacting the design and function of the canoe along the west coast territory. Embedded in this lesson would be an emphasis on the 4 R’s: Respect, Relevance, Reciprocity, and Responsibility.

This “canoe workshop” would begin by showing students one or two short videos from the website (and would likely include one that showcases the different styles of canoes). Additional knowledge by a guest speaker should accompany this time of learning, and would be best provided directly from a member of either the Squamish, Tsleil-Waututh, or Musqueam nation. Students will practice respect as they listen to the relevant wisdom shared by the speaker. Here, students would experience learning through the oral Indigenous way of knowing, as the speaker shares his/her personal and traditional experiences and knowledge with how the canoe has impacted the culture of their nation. Students would then be instructed to work in groups of 3-4, where they would be given the task to draw and design a plan for (hypothetically) building a canoe. In their design, they would include the canoe’s approximate dimensions, its purpose, how many people it would carry, any unique features it may have, and why it would be important to have this canoe in the community. A word bank would be supplied, where students would have to use the words/phrases to describe their canoe; these words would include scientific terms related to the kinetic molecular theory, and select words from the Squamish (Sḵwx̱wú7mesh) language. After this activity, the class as a whole would draw an outline/design for a wooden paddle to be made in co-operation with the students in the wood shop class; the paddle could include notes of reconciliation or signatures by the students involved, and would be given to the Nation of the guest speaker, or the Nation whose land the building of the school resides, as a symbol of thanks and reciprocity. Through the process of this canoe workshop, the students would experience a cyclical journey where they learn from others in a community (First Nations), work with others (each other/wood shop class) to create an expression of their learning about canoes, and give their first, hand-made product, back to the community that gave them knowledge.

These resources also provide a cross-curricular opportunity between science and social studies courses.  The wholistic nature of Indigenous knowledge should be fully embraced, is a possibility if only being approached from a science perspective.  To only analyze the Western scientific aspects of the canoe building would to not be an authentic incorporation of Indigenous cultures and knowledges.  Collaboration with the social studies curriculum could provide an opportunity to discuss the importance of stewardship, and would open a discussion on the comparison of resource use between Indigenous cultures and settlers.  The Voices of the Canoe website also addresses that “evidence” has a different meaning in this context.  Both science and social studies classes discuss the topic of “evidence” and what constitutes a “valid source”.  This is an opportunity to open up a dialogue on why Eurocentric societies and Indigenous cultures have different definitions of what “evidence” is.

[ourcommonbowl-blog]

Never Alone Video Game

Jas, Marcus, Laurent

Description and Rationale:

After years of research and interviews, the Truth and Reconciliation Commission has concluded that Canada’s treatment of aboriginals at residential schools not only disenfranchised generations from their heritage, but also, due to the physical and emotional abuse amounted to ‘cultural genocide’ (Curry & Galloway, 2015). The commission released 94 recommendations as part of a summary that entails concrete steps to improve the lives of aboriginal people in Canada. Educational reform is part of the reconciliation process and is calling on provincial education ministers to ensure the history of aboriginal Peoples, the residential school system and its legacy become part of the kindergarten to Grade 12 curriculum (Truth and Reconciliation Commission of Canada, 2012). Never Alone, also known as Kisima Inŋitchuŋa, "I am not alone," is a puzzle-platfomer video game constructed around the tales found in the folklore of the Indigenous Alaskan people. The interactive, student-centered game is targeted towards elementary school-aged children and progresses student learning of Indigenous cultures as they master each level of difficulty. This is a valuable resource for educators because it engages school-aged children with creative visuals, embedded feedback and a powerful narrative that makes learning an authentic experience.

A platform game, or platformer, is a video game which involves guiding an avatar, the user’s graphical representation, to jump between suspended platforms and over obstacles to advance the game. These challenges are known as jumping puzzles and the goal is to avoid letting the avatar fall from platforms or miss necessary jumps.

Research studies support the constructivist view of learning, which emphasizes the active role of the learner in building understanding and making sense of information; learning is more than just receiving and processing information, students participate in their own personal construction of knowledge (Woolfolk, Winnie and Perry 2012).

The player-character is an Iñupiaq (Inuit) girl, Nuna and her Arctic fox. The player must be able swap control between Nuna and the fox when facing environmental and physical obstacles. While the fox is fast, Nuna can pick up things and open new areas using her bola; a bola is a type of throwing weapon made of weights on the ends of interconnected cords, designed to capture animals by entangling their legs.

Along their journey to the source of the blizzard, Nuna and her fox encounter Indigenous folklore characters: Blizzard Man, the Little People (In Inuit mythology, the Ishigaq are little people, similar to fairies), Manslayer, the Rolling Heads, and the Sky People. The game is based on the intergenerational transference of wisdom and takes place on traditional territorial grounds of the Inupiaq people.

Never Alone is developed by Upper One Games in conjunction with the Cook Inlet Tribal Council, a non-profit organization that works with Indigenous groups living in Alaska's urban areas. The Council’s objective in developing this interactive video game was to “promote, share, celebrate, and extend Indigenous culture" (Matos, 2014). Furthermore, the development of an Indigenous perspective in video gaming is the First Indigenous-owned video game developer and publisher in US history"(Matos, 2014). The premise of the game is to expose Indigenous knowledge and oral histories, with a key emphasis on the importance of intergenerational story-telling. It is intended both to share the stories of Native culture as entertainment, and to revitalize interest in Alaskan Indigenous folklore. Proceeds from the game will fund the Council's education mission to funnel proceeds back into local communities for development of Indigenous resources within classrooms (Matos,2014).

The game is available on multiple platforms, including: Macintosh and PC computers, iPhone and iPad, PS3, PS4, XBoxOne, WiiU, and Nvidia Shield. The website for the game is

http://neveralonegame.com/ 

On the website one can find information about the game, how to download it, blog postings (including everything from game updates to origami fox ideas), tech support, as well as press releases.

Indigenous Knowledge:

The narrative of the game follows a story of bringing balance, restoring balance, to the environment that is mired in an “eternal blizzard.” It’s story is based around Alaskan Indigenous folklore that believes balance is restored by visiting its source. The Inupiat (Inuit) girl, and her Arctic fox companion navigate physical and geographical challenges to reach the source of the blizzard. During the obstacles, the player is exposed to the territorial and spiritual components of the Alaskan Indigenous communities; traditional territories that span Norton Sound on the Bering Sea to the Canada-United States border. Their current communities include seven Alaskan villages in the North Slope Borough, eleven villages in the Northwest Arctic Borough, and sixteen villages affiliated with the Bering Straits Regional Corporation (Craig & Taha, 1999). The Bering Straits Native Corporation, or BSNC, is one of thirteen Alaska Native Regional Corporations created under the Alaska Native Claims Settlement Act of 1971 in settlement of aboriginal land claims. Bering Straits Native Corporation is a for-profit corporation with about 7,300 Alaska Native Alaska Native shareholders primarily of Inupiat, Siberian and Yupik descent (Craig & Taha, 1999). Culturally, Iñupiat are divided into two regional hunter-gatherer groups: the Tagiugmiut, "sea people," living on or near the north Alaska coast, and the Nunamiut, "land people," living in interior Alaska (Craig & Taha, 1999).

Benefits and Challenges:

The Game’s stake-holders have made a behind the scenes the making of video, you may watch it at: https://www.youtube.com/watch?v=8yefBjvyTYM. Never Alone delivers innovative approaches to reinvigorating the teaching of aboriginal culture and celebrating the stories and mythologies of the Inupiaq people (Alaskan Inuit). Having purchased a copy from Steam, which is supporting aboriginal artists and culture, the game proved to be quite challenging at times and the experience was touching, thoughtful and beautiful to behold and really enjoyable to play. Never Alone is easily recommendable to teacher colleagues, and young people most importantly. This side-scroller adventure story follows a familiar format for those of us that grew up in the post Super Mario Brothers era (circa 1985), but it adds the more recent achievement and reward systems of more recent video games. The documentaries called rewards are cleverly labelled as Cultural Achievements, and unlocking all 24 of them provides a roughly 35 minute series of short stories / Inupiaq Culture Documentaries that instruct the player on a broad cultural survey of Inupiaq cultural practices and beliefs. These cultural insight video segments can be found at https://www.youtube.com/watch?v=E4Iqq4_hoxk.

The decision of choosing a videogame as the vehicle for storytelling as a participant observation platform for Cultural Instruction is also rather novel and speaks to a more outside the box method of reaching today’s youth. Having played Never Alone on a wall-sized screen making use of an HD projector, the visuals from both the game and the documentaries (amazing imagery of the Alaskan continent and of the Arctic) were that much more eye-popping. As for the interactivity of a game as a playable story telling experience adds depth the told and shown stories invoked in the normally only oral stories. The artistic design, the look specifically, is also unique to the Inupiaq culture and the bonus footage documentary shows the extent to which the cultural stake holders influenced the game design as well as the look and feel of the game, it should be pointed out the communities youth help test and craft the game and so too did the elders!

While reaching the next generation can be challenging for educators in general, Never Alone delivers a thoughtful hybrid of traditional cultural relevance via the dynamic stories embracing a modern flare that captivates the viewer/listener perspective. With regards to the difficulties of resisting potentially negative western cultural influence (thinking of popular music, television and motion pictures), using a video game with embedded documentaries is subtle and brilliant and really thusly, really engaging. This dimension of using modern multimedia mechanisms to get back to traditional teachings could be seen as problematic by some I suppose, however we’d ideally see the successes of this project as a collective effort to make a contemporary story vehicle that is made by the Inupiaq/Inuit people for a larger audience than a solely Inuit market.

In a Canadian Pedagogical perspective with regards to doing a better job of teaching Aboriginal Content, embodied in the aims and language of Truth and Reconciliation Recommendations, Never Alone is a monumental cultural achievement for teaching aboriginal culture. Inuit Culture whether in Alaska or here in Canada is generally not really given enough thematic primacy as we tend to study the First Nations more central to our geographic proximity along the 49th parallel, and so Never Alone is teaching Inuit Culture in a way that could potentially have strong appeal to the larger cultures in both the US and Canada. Never Alone speaks to larger themes in the over-arching Pan-Aboriginal Discourse, of course conceding the polemics of the single narrative that SFU’s PDP mandate warns against. The obvious points covered are a care for the harmonious balance of the various stake-holders in an ecosystem for one (human, animal, plants and minerals etc.), human and animal symbiosis (Nuna and her arctic fox), mindfulness of the real and symbolic sacrifices involved in subsistence hunting and trapping, the importance of respecting the subsistence / hunting rights of Indigenous Peoples who wish to practice and maintain traditional diet, seeing the interdependence in the ecosystem and in one’s community as a guide to living well, whether in Alaska or more in general.

Finally, other than the potential challenges already mentioned, the 2 main detractors are the material costs required to participate in Never Alone, it costs money to play. If all the pieces are not already owned, it therefore costs a fair bit to purchase a game system to then buy a copy of the videogame, not including the television device and electricity that would not be required in the sitting down around a fire and listening to an elder share stories. As to the book being better than the movie paradigm, good story telling in a solely oral mode, is mentioned to be the intellectual blockbuster movie experience of old, and perhaps the videogame is not doing that justice in a certain traditional perspective, this is the oral versus written conundrum. Educationally, the lessons being taught around the usage of Never Alone in a school setting should be carefully scaffolded to really do justice to the game and the documentary clips, the hidden curriculum of Never Alone. It’s worth pondering whether or not a child or youth playing the game at home might willingly watch an educational documentary in all fairness also if not prompted by a parent, teacher or elder. Nevertheless, here’s hoping that wonderful short documentaries would be watched and enjoyed for the deeper understandings the elder teachings provide.

Use in Future Teaching Practice:

Never Alone has a wide potential for incorporating Aboriginal Culture Education into one’s teaching practice, however, in order to effectively and authentically utilize the game as a teaching resource it requires a significant amount of front loading on the part of the teacher. Indigenous epistemologies and aboriginal education should be a part of the classroom culture in ways that ensure students are respecting this resource and are not simply viewing it as an opportunity to play a video game at school. Possibly one of the best ways to utilize the game would be to, as a class, take turns playing the game in a location where all students can view the game. The game provides cultural insight video segments throughout the game, which provide a great springboard or theme to base class discussions or units of study around. Cultural insights are gained as one progresses through the game, and because each one must be ‘unlocked’ as players reach certain benchmarks, they act as rewards for the player. Each cultural insight video provides a broad survey of Alaskan Inuit culture and opens up opportunities for discussion and reflection.

One way a teacher could organize game play is by video segments (for example: 3 students each take turns playing a section of the game, each concluding their section when they get to a video segment. After each video segment the class engages in a discussion around that theme. AlterNatively, the three discussions can be saved until the end of gameplay for that day). The entire game length is realistic to complete within 5-10 classes, depending on the students gaming ability.

Other Ideas for Teaching Include:

Writing a story with subtitles (in English or other language) and have voice over (again, in another language or English); good software/app may be AdobeVoice or PowToon.

Have students focus on oral language traditions by choosing an object or an event and have a story teller start, and take turns adding elements to the story. Don’t write it down intentionally. Start the story again with the same objective but allow the group to change the story if they please (or keep elements the same that they really liked).

Create a visual story through only images (e.g. events in a student’s life, perhaps just in black and white such as using black marker on paper to make connections to the Inuit carving art). Depending on age students could also potentially do carving, such as soap carving.

Have students keep a journal that includes questions, connections, predictions about the game/cultural elements and all other experiences to do with using this in the classroom. Possible prompts for journal entries may include the AEIOU method:

A = Adjective: A word or two that describes something they saw or learned

E = Emotion: Describe how a particular part of the segment made you feel

I = Interesting: Write something you found interesting about the content/topic

O = Oh!: Describe something that caused you say Oh!

U = Um?: Write a question about something you learned or want to learn more about

Have students come up with possible open ended math questions that could go along with the game/elements, and then create a book of those questions with some possible discussions/answer keys. For example, about what speed does Nuna run at? How high can the fox jump, compared to Nuna?

The game could be used to supplement, or give context to, a science unit about extreme environments and survival tools/technologies or a social studies unit about cultural practices. Many of the cultural insight videos speak to the harsh climate of the north and how the Inuit have adapted to these climates. The videos also highlight the important role that storytelling plays in this culture.

References:

Bill Curry & Gloria Galloway, Globe and Mail, June 02, 2015 –

http://www.theglobeandmail.com/news/politics/truth-and-reconciliation-report-calls-for-broad-recommendations/article24761778/

Craig, Rachel & Taha, Chholing P (1999). National Network of Libraries of Medicine. Retrieved from https://nnlm.gov/archive/20061109155450/inupiaq.html

Truth and Reconciliation Commission of Canada, 2012

Woolfolk, A., Winnie, P., & Perry, N. (2012). Educational Psychology. Upper Saddle River, NJ: Pearson Education.

Xav de Matos, 2014. Sharing legends with the world in Never Alone, a game inspired by Alaskan Native communities. Retrieved from https://www.engadget.com/2014/03/19/sharing-legends-with-the-world-in-never-alone-a-game-inspired-b/

Video Footage from the Game, (ALL in HD)

https://www.youtube.com/watch?v=Exls0Y8FSI8 Game Footage

https://www.youtube.com/watch?v=E4Iqq4_hoxk Never Alone - Cultural Insights (All 24 Pieces) 

https://www.youtube.com/watch?v=8yefBjvyTYM Research and Critical Insights of Elders

[ourcommonbowl-blog]

The National Aboriginal Health Organization’s Sexual Health Toolkit Part I and II

Christine Thompson, Sophia Lam, Kinna Joe and Celine Caro

The resource we selected is a two-part sexual health toolkit that teaches youth how to be sexually healthy, safe and responsible. The toolkit was developed in partnership with The Native Youth Sexual Health Network (NYSHN), an organization by and for Indigenous youth that works across issues of sexual and reproductive health, rights and justice throughout the United States and Canada. The first part of the toolkit focuses on sexually transmitted infections (STIs) and contraception whereas the second part discusses healthy relationships with oneself and others as well as sexual abuse and sexuality. This resource encourages open discussion and communication without judgement and incorporates several aspects of health (spiritual, mental and physical health). Each clan member began this assignment with an interest in health and an open mind about which resource to review. In the end, we chose to focus on sexual health as it is a pertinent issue facing Indigenous communities today. This resource in particular was engaging, easy to understand and well suited for youth. We felt that this resource could be well utilized in educational and social settings and could help promote sexual wellbeing in Indigenous communities while providing relevant information to all Canadians. This resource can be found at the following website: http://www.nativeyouthsexualhealth.com/toolkit.html

The toolkit presents health in accordance with Indigenous perspectives. The toolkit takes a general approach to Indigenous knowledge by incorporating the element of wholism when discussing health and the definition of healthy relationships. Firstly, there are many types of relationships: the relationship with ourselves, with friends, families, a partner, our community, and Mother Earth. Relationships require certain qualities to be and stay healthy. Any kind of relationship (romantic or friendly) needs safety, respect, trust, communication, enjoyment and fairness. Good health is a balance of physical, mental, emotional and spiritual elements. The resource states that “good health is achieved when we live in a balanced relationship with the earth and the natural world”. Mother Earth provides food, air, medicines, laws and teachings. These principles are to be combined with an active lifestyle, a positive attitude, and peaceful and harmonious relations with people and the spiritual world.

The toolkit explains the traditional views on sexual health, where sexuality is an expression of the life-creating force. “In the past, sexuality was not perceived as shameful and children were taught openly about their bodies, sexual and reproductive passages, and moon time” according to the toolkit. Each First Nation carries different stories and teaching about sexual health. They have varied coming-of-age ceremonies or naming ceremonies. Before colonization, women were recognized as having a great power because of their ability to have children and this ability was honoured within the communities. Before colonization, sexual diversity was also accepted. In many Indigenous communities the existence of male-females and female males (two-spirited individuals) was recognized as having the social responsibility of carrying two spirits and this was considered a gift. Two-spirited people were respected and often became medicine people, healers, and visionaries. Moreover, rape and sexual aggressions against women were not an element of Indigenous culture. The resource outlines the effects of colonization such as loss of identity, loss of traditional beliefs and values and the continuing effects of residential schools. It exemplifies how this has all contributed to social problems within Indigenous communities, including sexual abuse.

There are many benefits to using this resource, especially when educating Indigenous youth. One main benefit is the layout of the resource as it includes large text, concise paragraphs, bullet points, tables, colourful images and eye-catching titles per section. These elements make the toolkit easy and engaging to read. The resource incorporates and addresses first person questions that readers may find themselves asking. It informs readers by assuming they have no previous knowledge of sexual health, while remaining respectful and non-patronizing. An example of how the resource does this is when it is explaining the process of STI testing; it addresses when an individual should be tested, what to expect when being tested and where testing can take place. Individuals accessing this resource can easily find answers to specific questions they may have by scanning the documents for titles that pertain to their needs. The resource includes information that is specific to Indigenous people, such as discussing insurance-related information specific to Status First Nations women in regards to birth control accessibility. It includes traditional sources of support such as community Elders when suggesting ways youth can confide in others. The toolkit makes it easy and clear for youth to detect if they are in an unhealthy relationship and provides practical advice for empowering oneself and improving self-image. The document features links to external resources where readers can gain more in-depth knowledge on each topic. It outlines the definition of drug facilitated sexual assault so that readers are able to name their experiences and access resources accordingly. The toolkit describes the impacts that colonialism and Western media have had on Indigenous ways of life, particularly self-image. However, it is careful not to blame Indigenous people and communities for the adverse circumstances they may find themselves in.

While we find this toolkit to be excellent and useful, we have also outlined a variety of challenges that may pose as barriers when using it as a teaching resource. The resource intends to be accessible to the many Indigenous Nations across Canada which can pose an issue when directing readers to relevant external resources, such a local grassroots organizations. Because of this general approach, it is difficult for the resource to provide information regarding nation-specific knowledge and traditions. While the toolkit touches on traditional views on sexual health and sexuality, such as an openness to discussing sex, it does not discuss traditional medicinal practices regarding birth control or fertility. The sexual assault section of this resource features some problematic language such as the term ‘victim’ as opposed to ‘survivor’. It’s inclusion of tips for keeping oneself safe from sexual assault implicitly suggests that sexual safety is the sole onus of an individual versus the fault of the perpetrator. The entirety of the resource features very gender-binary language that may make the information feel less relevant to gender-non-conforming or queer-gendered readers.

We brainstormed some suggestions for how this toolkit may be improved upon. We feel that an updated version of the toolkit should be released with updated statistics, language and stories. We feel that the toolkit would benefit from the incorporation of specific data regarding structural violence against Indigenous peoples, specifically the widespread violence against Indigenous women in Canada. It may be beneficial for the toolkit to incorporate specific suggestions as to how individuals can include spiritual and mental wellbeing into their sexual health practices. The toolkit could include a chart of birth control methods and related information to each method. A glossary could also be included to offer definitions for terms that readers may not be familiar with. It would be beneficial to include a section teaching Indigenous youth how to be assertive and how to advocate their needs and questions when interacting with medical care practitioners. Instructors utilizing this resource may be able to incorporate some of these changes within their own teaching practice.

This resource could be used in both formal classroom settings and within community teaching spaces across Canada. This resource can be adjusted according to where and when it is being utilized. Instructors should consider their audience and location when tailoring this resource and selecting supplementary teachings about sexual health. Instructors could preface this toolkit with information of local Indigenous history and sexual health practices as well as a discussion on the impacts colonialism has had in the area. Instructors could include current issues facing Indigenous peoples today as well as a discussion of the relationship between health and land. Instructors can discuss the relationship between traditional Indigenous health knowledge and the contemporary Western health care system. Depending on the age and maturity of the students, instructors may want to include a discussion on how the colonial health care system has served to oppress and assimilate Indigenous peoples (e.g. smallpox epidemic, forced sterilization, etc.) and the lasting intergenerational impacts that colonialism has had on Indigenous health.

Instructors may want to consider how they can utilize this resource within an Indigenous teaching pedagogy. Instructors might decide to deviate from the Western teaching techniques of reading and regurgitating information by providing alternative opportunities for learning while using this resource. For example, instructors can use more Indigenous methods of teaching such as story-telling, individual exploration and hands-on activities. Instructors could include individual exploratory assignments such as encouraging students to research and explore local Indigenous community organizations. This would be an opportunity for students to further their own knowledge and find resources that they may realistically access. Inviting community members, such as Elders or Indigenous volunteers, to speak to students could be a beneficial way to provide an alternative form of learning and to incorporate Nation-specific information. Instructors must take this last suggestion with a caution however: including Indigenous speakers does not relinquish an instructor of the responsibility to adequately teach their students and to incorporate Indigenous teachings in various ways.

We have devised a specific class activity that will interactively engage students while utilizing the toolkit. Firstly, instructors can divide the class into groups of 3 or more students, and then distribute cards to each group. Each card will contain a different scenario of an individual that is related to some aspect of the toolkit (e.g. an individual in an unhealthy relationship, an individual who does not access Western healthcare, etc.) and each group will read and discuss their card together. The groups will consider if the individual in their scenario is a healthy person or what is healthy/unhealthy about the situation. Students will be urged to consider what they learned from the toolkit when discussing their scenario. The class will then reconvene and each group will share their scenario and what they discussed/concluded about it. The instructor can then prompt class discussion by asking pointed questions related to each scenario (e.g. what role may colonialism play in the scenario, how could the toolkit be useful in the scenario, what role does Indigenous Knowledge play in the scenario, etc.). Students should be encouraged to contemplate how their own preconceived, Western ideals may have affected their views of the individual on their card.  Instructors may wish to incorporate additional resources such as educational videos before starting the class discussion/debrief to reiterate specific points/direct discussion. 

Wither this resource is used in formal or informal educational settings, with Indigenous or non-Indigenous students/instructors, it is an excellent toolkit for teaching youth about sexual health and wellbeing. The fact that it was made in conjunction with the NYSHN gives the toolkit an air of authenticity and relevance. This is a great resource to keep Indigenous and non-Indigenous youth in Canada sexually informed, safe and healthy.