Star Blanket Designs 1
Mathematics 9
Symmetry, Scale, and Similarity and the
Indigenous Star Blanket
By:
Donna Ell
University of Regina
ED 870 AU/AV - Spring 2011
Star Blanket Designs 2
Mathematics 9
Symmetry, Scale, and Similarity and the Indigenous Star Blanket
Overview:
This series of lessons incorporates some of the outcomes from the Shape and Space Unit from
the Mathematics 9 Curriculum. These lessons utilize the Indigenous Star Blanket designs to
apply the mathematical concepts of line and rotation symmetry and scale factor and similarity of
2-D shapes.
Outcomes:
SS9.4 Demonstrate understanding of line and rotation symmetry. [C, CN, PS, V]
SS9.3 Demonstrate understanding of similarity of 2-D shapes. [C, CN, PS, R, V]
Indicators:
SS9.4
a. Observe and describe examples of line and rotation symmetry in situations relevant to
self, family, or community.
b. Classify different 2-D shapes or designs made of 2-D shapes, according to the number of
lines of symmetry.
c. Complete a 2-D shape or design given part of a shape or design and one or more lines of
symmetry.
d. Determine, with justification, if a given 2-D shape or design has rotation symmetry about
the point at the centre of the shape or design and, if it does, state the order and angle of
rotation.
e. Identify a line of symmetry, or the order and angle of rotation symmetry, in a given
tessellation.
f. Describe examples of the use and significance of line and rotation symmetry in First
Nations and Métis art.
g. Analyze different transformations of 2-D shapes on the Cartesian plane and describe the
type of symmetry, if any, that results.
h. Determine whether or not two 2-D shapes on the Cartesian plane are related by either
rotation or line symmetry and explain.
i. Create or provide an art work (such as a painting or dance) that demonstrates line and
rotation symmetry, and identify the line(s) of symmetry and the order and angle of
rotation.
SS9.3
a.
b.
c.
d.
e.
f.
g.
Observe and describe 2-D shapes, relevant to self, family, or community, that are similar.
Explain the difference between similarity and congruence of polygons.
Verify whether or not two polygons are similar.
Explain how ratios and proportionality are related to similarity of polygons.
Draw a polygon similar to a given polygon and explain the strategies used.
Solve situational questions involving the similarity of polygons.
Identify and describe situations relevant to self, family, or community that involve scale
diagrams and explain the meaning of the scale factor involved.
h. Explain how scale diagrams are related to similarity, ratios, and proportionality.
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Star Blanket Designs 3
i. Draw a diagram to scale that represents an enlargement or reduction of a given 2-D shape
and explain the strategies used.
j. Explain how to determine the scale factor for a given 2-D shape and an enlargement or
reduction of the shape.
k. Verify whether or not a given diagram is a scale diagram of a 2-D shape and, if it is,
identify the scale factor for the diagram.
l. Solve situational questions involving scale diagrams and scale factors.
Extension Suggestion – utilize Surface Area in the Star Blanket project.
Timeframe:
Approximately 5-9 in-class hours with an ongoing art project.
Resources:
The following resource is required for these activities
MathLinks 9, McGraw-Hill Ryerson
Assessment Evidence:
1. Performance Task – completion of assignments
2. Indigenous use and significance of symmetry – observation evaluation
3. Star Blanket art work that demonstrates line and/or rotational symmetry – Sample
Evaluation Rubric Appendix E
4. Presentation – Sample Evaluation Rubric Appendix F
Lesson 1:
Line Symmetry
Introduce the topic of symmetry.
See if the students can come up with any suggestions of where we encounter symmetry in our
everyday lives. Discuss the idea of the different kinds of symmetry such as line and rotational.
Continue discussing Line Symmetry by working through 1.1 of Math Links 9 Page 6 – 11.
Assign select questions from the student assignment found on Pages 11 – 15.
Lesson 2:
Rotation Symmetry and Transformations
Work through 1.2 of Math Links 9 Pages 16 – 20. Assign select questions from the student
assignment found on Pages 20 – 25.
There are likely some great aps available to show rotational symmetry and some great computer
programs that could be utilized to help students explore this topic.
Lesson 3:
Provide each student with a set of tangrams or pattern blocks and tell them they are required to
create a pleasing design which involves line or rotational symmetry. Give the students ample
time so they can complete their designs. Once they are done have them determine whether or not
their design has line symmetry or rotational symmetry. If it has line symmetry then they must
determine how many lines of symmetry and if it has rotational symmetry they must determine
the order and angle of rotation.
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Star Blanket Designs 4
Appendix A: Symmetrical Design Rubric may be presented to the students before they begin
their work so they understand how they will be evaluated.
After the determined amount of time you will need to move through the classroom evaluating
each student’s design or have the students present their designs to the class using a camera and
data projector.
Lesson 4:
The Indigenous people have utilized the beauty of symmetry in many different ways since the
beginning of time. They use symmetry in their traditional dwellings, their paintings, weavings,
beadwork and star quilting.
Invite an Elder into the class to discuss the various ways Indigenous people have used symmetry
and how they continue to use symmetry in their lives today. Invite an indigenous Star Blanket
quilt maker into class to discuss how they use line and rotational symmetry. This can make the
topic more relevant to the students by allowing the students to see the lesson in the context of
their everyday lives. See Appendix B: Working with Elders in the Classroom for some
guidelines for working with Elders in the classroom. Guidance for booking and working with
Elders can be discussed with the division’s Aboriginal Consultant. If you are unable to invite an
Elder or quilt maker into your classroom then you may want to provide your students with the
history and significance of the Star Blanket found in
Appendix C1: History and Significance of the Star Blanket Short Version or
Appendix C2: History and Significance of the Star Blanket Long Version
There are numerous videos on the web that can be found by searching Star Blanket designs.
Scott Collegiate in Regina has a 4 minute video that could be used and can be found at:
http://www.youtube.com/watch?v=eeKungKthf0. There are many others available that highlight
many aspects of this design. Another really interesting Youtube video can be found at
http://www.youtube.com/watch?v=Mts6NRSwQU4. This video is of a very modern piece of
artwork that happens to utilize the Star Blanket design.
Lesson 5:
Make an overhead copy or utilize the data projector and smart board for Appendix D: The Star
Blanket Quilt Examples. Discuss the designs in terms of their line symmetry as well as their
rotational symmetry. Look at the various colors/material and determine the fraction of the
various colors used in the piece of art. Also determine the scale ratio needed if this design was to
be used to make a quilt. If time allows you could also move this discussion into the surface area
of each rhombus and determine the amount of each material needed to then create this quilt.
Students will create their own star blanket design and will be expected to complete the questions
provided in Appendix E: Star Blanket Project.
Appendix F: Star Blanket Project Evaluation Rubric will be used to evaluate the star blanket
project. Providing the students with a copy of Appendix E and F will help them understand what
is expected of them and how their work will be evaluated.
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Lesson 6:
Enlargement and Reductions – Math Links 9 - 4.1 could be used to work through this topic with
assignment taken from Page 135.
Lesson 7:
Scale Diagrams – Math Links 9 - 4.2 could be used to work through this topic with assignment
taken from Page 142.
Lesson 8:
Similar Polygons – Math Links 9 - 4.4 could be used to work through this topic with assignment
taken from Page 157.
Lesson 9:
Have students present their project to the class.
Appendix G: Student Presentation Evaluation Rubric may be utilized to evaluate each
student’s presentation. Once the students have completed their presentations they will be
expected to hand in all components of their completed project for evaluation.
Possible Extension: Student Self- Assessment of Project
You could have the students self-assess their work by having them create a rubric and evaluating
their own work. Guidance for creating a rubric can be found on Page 441 of Math Links 9.
There are many online rubric creators such as Rubistar @ http://rubistar.4teachers.org/ which
your students may find useful as well.
Note: The project incorporates the concept of symmetry found in Chapter One of Math Links 9
as well as enlargements/reductions, scale diagrams and similarity of polygons found in Chapter
Four of Math Links 9. As well, you may need to provide students with a review of how to find
the area of a rhombus. If time is limited and you did not want to give the students this much time
to complete this project then the project hand out would need to be modified.
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References:
Bazin, M. Tamez, M. (2002). Math and science across cultures: Activities and investigations
from the Exploratorium. New York, NY: The New Press.
Hankes, J. E., & Fast, G. R. (Eds.). (2002). Changing the faces of mathematics: Perspectives on
Indigenous People of North America. Reston, VA: The National Council of Teachers of
Mathematics Inc.
McGraw-Hill Ryerson. (2009). MathLinks 9, Whitby, ON: Author.
Ministry of Education. (2009). Mathematics 9 curriculum guide. Regina, SK: Ministry of
Education.
Saskatchewan Indian Federated College. (1996). Indian and Métis Mathematics Units for the
Elementary Level. Saskatoon, SK: Stewart Resources Centre.
Stocker, D. (2008). Maththatmatters:A teacher resource linking math and social justice
(2nd ed.). Ottawa, ON: Canadian Centre for Policy Alternatives.
Wright, J. and Johnson, D. (2007), Indigenous Knowledge and Cultural Weather Perspectives:
Lessons to Support Science 10. Saskatoon, SK: Stewart Resources Centre.
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Appendix A:
Symmetry and Star Blanket Design Rubric
Your design will be evaluated based on the following rubric
Name: _________________________
Total Score: ________/30
Category
5
4
3
2
1
Effort and
Perseverance
Project was
continued until
it was
complete,
effort far
beyond that
required.
Demonstrates a
unique level of
creativity and
originality
Determined
effort to
complete the
project.
Project
completed but
could have
been improved
with more
effort
Project was
completed with
minimum
effort
Not finished or
finished
inadequately
Exploration of
original and
creative ideas.
Attempts
creative ideas
but lacks
originality
No evidence of
original
thought
Shows
elements of
design applied
and shows an
awareness of
filling the
space
adequately
Demonstrates
assignment
adequately but
shows lack of
planning and
little evidence
of overall
composition
was planned
Demonstrates
assignment
adequately but
shows lack of a
number of
design
principles
Has rotational
symmetry and
no lines of
symmetry.
Fulfills
assignment but
no evidence of
trying anything
unusual.
Completed and
turned in but
showed little
evidence of
any
understanding
of the
elements
Completed and
turned in but
showed little
evidence of
understanding
the design
principles
Has two lines
of symmetry.
Artwork
demonstrates
minimum use
of principles or
was never
completed
Aware of
symmetry and
able to describe
the line
symmetry but
not the
rotational
symmetry.
Aware of
symmetry and
not accurate
with describing
the line or
rotational
symmetry.
Creativity
Design
Elements:
Line, texture,
color,
shape/form,
space.
Design
Principles:
Repetition,
Balance,
Emphasis,
Contrast,
Unity
Design
Symmetry
Analysis of
Symmetry
Evidence of
careful
planning, made
several
sketches and
above average
awareness of
elements of
design
Evidence of
careful
planning,
above average
awareness of
principles of
design
Has rotational
symmetry and
more than one
line of
symmetry.
Can articulate
the number of
lines of
symmetry and
the order and
angle of the
rotational
symmetry.
Shows
principles of
design applied
and shows an
awareness of
balance
Has rotational
symmetry and
one line of
symmetry.
Can articulate
the number of
lines of
symmetry and
the angle of
rotation
symmetry but
not accurate
with the order
of symmetry.
Can articulate
the number of
lines of
symmetry but
not accurate
with the order
or angle of
symmetry
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Artwork
demonstrates
minimum use
of elements or
was never
completed
Has one line of
symmetry.
Star Blanket Designs 8
Appendix B:
Working with Elders in the Classroom
by Anna-Leah King from Indigenous Knowledge and Cultural Weather Perspectives Unit
It is the Elder’s responsibility to guard sacred knowledge and to maintain the ceremonial oral tradition of
knowledge transmission. Saskatchewan is home to five First Nations linguistics groups namely Cree,
Saulteaux, Nakoda, Dene and Dakota/Lakota.
All of these First Nations have a home here and it is entirely appropriate to represent any or all of these
First Nations when approaching curriculum content. The Elders bring with them traditional knowledge
and perspective passed down from generation to generation through oral tradition. The reference to
Elders’ wisdom has lately been termed “Indigenous knowledge” or “traditional knowledge.” Their
traditional knowledge and wisdom will give insight to teachers willing to reshape curriculum and
validating First Nations content and perspective.
Inviting the Elders
Protocol
The Elders would expect to be approached in the traditional way, respecting traditional protocol. They
are given a small offering of tobacco in exchange for their commitment to invest their time and energy
into the work at hand. They can be asked to lead the gatherings with prayer and ceremony. First Nations
gatherings always begin with prayer and ceremony. It is entirely appropriate to ask this of them. It may
not be what you are familiar with, but you will soon realize the benefits of respecting First Nations
protocol and ceremonial practice. The Elders may want to begin with a smudge on the first gathering and
offer prayer for the task at hand and the team that has been brought together. The Elders are well aware
that any given group put together is there to learn from one another and so blessings towards this
endeavor are prayed for. Sometimes, depending on the size of the project, a pipe ceremony may be
requested. Each Elder may have a slightly different approach to an opening and closing ceremony. Some
may speak for a while. Others will ask you to share so they can become more familiar with everyone.
Simply inviting them with an offering of tobacco and asking that they open and close the gatherings is
enough. The Elder will take it from there.
Elder Expectations
When you invite Elders, it is important that you are clear on what you expect from them. If you are
asking them to contribute with their knowledge, wisdom, and guidance, then say so. They may not all be
familiar with education and what teachers and curriculum writers are trying to do, so explaining what
curricula is and what is needed of them is essential to a good working relationship. You want them to
contribute First Nations and Métis content and perspective. The Elders need to feel confident that they
will be of assistance. Let them know that you see their role as traditional knowledge or wisdom keepers
and they need to draw upon their personal experience, cultural knowledge, and teachings to contribute to
the process. The Elders will share what is acceptable and give caution for what they view as sacred
knowledge that is only to be shared in the context of ceremony.
Elders need time to think before they answer. Do not be impatient and feel they are not answering soon
enough, as they will answer your questions in time. Some Elders are reflective, philosophical thinkers.
They will review holistically what you have asked of them. A concept that you think is simple and
straightforward has many different dimensions to a First Nations speaker, and they must put the concept
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Star Blanket Designs 9
into the context of the whole and analyze the dimension of its interrelatedness. Sometime they must
translate what you are saying into their language. Not all words and concepts are readily translatable.
That is why letting the Elder know what is expected of them beforehand is important because it gives
them time to think it over and to find some area of common ground.
Elder Care
Elders do not expect anything but it would be nice to assign one person to see to their needs. Offer them
a comfortable seat and debrief them on the expectations for the gathering. Introduce them to everyone and
generally make them feel welcome. See to it that they have water, juice, coffee, or tea. It is good to have
a snack for them at coffee break. Invite them to pray over the food before you eat. Allow them to be first
in line for lunch or let them know you will serve them. This is an example of First Nations Protocol.
These are small things, but kind gestures go a long way with Elders. They appreciate when younger
people make efforts to lighten their load. These gestures make the Elder feel welcome and cared for in a
respectful way.
Gifts
It is appropriate to have a small give for the Elders. If they are paid for their time, this would be
considered the gift. Some give a small gift in addition to the honorarium, such as a basket of teas or jams.
Further information can be found in the document: Aboriginal Elders and Community Workers in the
Classroom, available from the First Nations and Métis Branch of the Ministry of Education.
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Appendix C1:
History and Significance of the Star Blanket
Short Version
Star Blanket History
The history of Star Blankets date back before European contact, with variations of the star design
stretching across North and Central America. Here, the First Nations people would decorate
numerous objects with the eight-point star design, but none as sacred as the buffalo-hide robes
worn during ceremonial events. The tradition of the Star Blanket stems from the honor,
protection and ceremony these robes represented.
From Hides to Fabric
Appreciating the precision that fine thread and steel needles, along with the rich, diverse color
palette that woven fabrics could provide, the Plains People began to replace their sinew, bone
awls and animal hides with these imported materials. While the materials changed, the skills
needed to create the ceremonial robes and blankets were retained. The same skills are used to
create the glorious ceremonial robes before European contact, and vibrant Star Blankets after
contact. Star Blankets are created in the Great Plains tradition, using skills passed down from
generations. They reflect not only the traditional expertise and values of the Canadian Great
Plains Aboriginal Peoples, but the beauty of the Great Plains natural and cultural settings. The
designs capture the designer’s vision, inspiration, creativity, skill and experience.
Inspired by the Heavens
A symbol of the Morning Star; the Star Blanket heralds a new beginning - the dawning of a new
day. Among the Great Plains People it was understood that if you saw the Morning Star; the
creator had given you another day of life. The Milky Way, known as the "Pathway of the
Departed Souls", led the spirits of the deceased to the Southern Star. It was also believed that the
Great Spirit gave stars power to watch over mortals on earth and impart to them spiritual
blessings. Standing between darkness (ignorance) and light (knowledge), the Morning Star
inspires understanding and life.
Designed by Nature
Reflecting elements of nature, the Star Blanket often tells a story through its diamonds colorfully portraying themes of brilliant stars, sheltering trees, snowy mountains, vast plains,
cool rivers and more. The traditional colors of yellow, red, black and white seen in many Star
Blankets represent the four directions, races, and stages of life.
Given to Bless
For centuries, Plains People have used robes and Star Blankets to honor individuals at the time of
life changing events such as births, deaths, graduations and marriages. While the Star Blanket
has replaced the buffalo robe as a gift of honor; the tradition of generosity and blessing remains.
To give a Star Blanket is to show utmost respect, honor; and admiration. Star Blankets are given
to others as a show of respect and thanks, and can also be given to those who are sick. Kevin
Bear describes his rendition of a Star Blanket painting as a "big get well soon card".
To receive a Star Blanket indicates that the giver holds you in very high esteem for your
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Star Blanket Designs 11
generosity and accomplishments. It is also thought that Star Blankets result in good dreams and
prosperity.
Variations in Design
Depending on the Aboriginal culture from which the Star Blanket comes from, the design can
change from rigid geometric shapes to more abstract design and may also even include animals
in their design. Color may also carry significance, depending on the region and culture which the
Star Blanket is from.
The above information is taken from:
http://d1056411.domain.com/NSOhistory.html
http://weseeyou.ca/postView.php?d=Feeds&t=Blog_Page.html&c=Blog_Feed&pt=Our_Blog_D
etail.html&id=84
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Appendix C2:
History and Significance of the Star Blanket
Long Version
The Morning Star - "Star Quilt"
Author Unknown - January 2001
“Arise! Arise! Come see the morning star.” This centuries old call from the camp crier, as
he rode through the Indian encampment, awakened the people to their day. For the Northern
Plains Indians of Montana and the Dakotas, the sighting of the morning star still heralds a new
beginning, a new day dawning.
The morning star! How appropriate that this symbol, which is so meaningful and constant in
their lives, is the predominant theme of the Plains Indians quilters. For over a hundred years
these artistic women have been creating colorful variations of the morning star in their quilt.
Long before quilting, the star pattern adorned animal skins used for tepees, clothing and
shields. For ages the star has been depicted in the Plains Indians’ hide paintings, porcupinequilled moccasins, leggings and clothing. With the traders’ introduction of beads, the star
appeared in beaded form. Sinew, the ganglion from the backbone of a deer, buffalo or elk,
made a strong, sturdy thread. Small, sharply pointed animal bones were used as the first
needles. To this day, many Indian women prefer to use sinew for moccasins and beadwork
though not in quilts, which, of course, are sewn with thread. The use of the morning star
quilt designs is a continuation of their time honored art form.
These Native American women were excellent seamstresses long before the white people
arrived. When the missionaries came in the 1800’s with their needles and calico-printed
fabrics, quilting became an exciting new art medium for the Indian women. The calico
materials were bright and pleasing to the women’s eyes. Here they could experiment with
different textures and colors. They were not given an abundance of fabrics. Therefore, they
diligently used cast off clothing and dyed flour sacks.
Being keen observers of nature and attuned to their environment, they soon recreated
rainbows, storms, the seasons and the heavens in their quilts. Thus, the women turned this
missionary-introduced craft into their own meaningful art form.
Quilts quickly took on deep significance in the cultural practices of the people. In early times
they replaced buffalo robes in wrapping the dead. They were and are given in sympathy to the
family of one who has died. They are given at births. Quilts honor friends and loved ones.
For the newly married couple, the star quilt is considered an essential gift, bestowing upon
them recognition and respect. They are used as altar cloths in churches and are hung in
schools for graduation ceremonies. They are placed atop sweat lodges. Often, young men
wrap themselves in a quilt while awaiting a Vision on some secluded high place. Always,
they are a focal point in the Give Away. Probably the most contemporary use of the star quilt
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is found at Indian basketball tournaments. Many Indian basketball team members give star
quilts to others participating in the tournament, including the announcers, referees, coaches
and players from other teams. Some extremely creative quilts are seen at these games, since
competition among the quilt makers to produce the most outstanding one is intense.
The mythology as well as the traditions of our Plains Indian tribes shows a religious
observance of the stars and a reverence for all the heavenly bodies. The Milky Way is called
the “Pathway of Departed Souls.” After death it is believed, by many Indian Americans, that
the spirit of the deceased passes on this pathway to the Southern Star, the abiding place of the
dead. It is thought that to the Stars the Great Spirit gave the power to watch over mortals on
earth and impart to them spiritual blessings. The Star Quilt is given today as a token of this
belief. Southwest Indian people call this “God’s Eye”. The morning star stands between
darkness (ignorance) and light (knowledge). It leads to understanding. The Indian women
would get up early, when the morning star came out, to tend the fires and cook breakfast. It
was told that, if you saw the morning star, the creator had given you another day to live, and
you would not die during that day whether gathering food, hunting or in battle.
Color is the essence in Indian quilting. They speak with color. Art is one of the few areas
where Indian lives are not controlled by others. Helpless to pursue their former ways, quilting
has allowed these women a rare freedom. A quilter delights in using color as a painter would
her palette. The Indian quilter’s sense of color is unique, innovative and raucous. Quilting
bees are now a part of their life. Quilting is an individual expression. Two distinctive
qualities separate the Sioux quilt from any other quilt. The diamond, which in Sioux culture
represents the four directions, is used to comprise every design, from the Morning Star Pattern
to the less traditional eagle and buffalo patterns. The second quality which makes Sioux
quilts spectacular is the color choices of the Sioux women. Many of the Sioux women without
formal artistic training instinctively blend colors, making each quilt a breathtaking journey
into the color spectrum. Many Lakota women who learned the art of quilting from their
mothers and grandmothers take great pride in finishing star quilts to perfection, making them
of heirloom quality.
Fabric has a special meaning in the Indian cultural and religious life. Swatches of cloth may
be given at a Give Away, or tied to a post at the Sun Dance. They are often left for as long as
the lodge stands. Their movement in the winds are believed to carry an individual’s prayers
and supplications to Wakan Tanka, or Big Holy, or more commonly, the Great Spirit.
You cannot look at a Star Quilt without wondering about the designs and colors the artists
chose. Quilts made by Indian women usually are done in solid colors, and those made by
non-Indian women are more often done with patterned pieces. Many Indian quilters say they
like bright colors, the brighter the better- hot pinks, and red, the brightest blues and greens,
yellow and oranges, purples and lavenders. Some will not use black in their quilts. Yet the
material, color and design are all secondary to the way a quilt is put together and finished.
Most quilters agree with the woman who said, “A quilt can be ever so beautiful, but if it is
stitched incorrectly, the appearance of the whole quilt will be ruined.”
Quilters are equally vague about the origins of the Star Quilt design itself. Most seem to think
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Star Blanket Designs 14
that quilting arrived with the settlers. Whatever its origins, the Star Quilt has become a well
established art on many reservations. One of the best places to view modern Star Quilts is at
powwows, for these tribal celebrations are a time of gift-giving and sharing. Some families
give away as many as 15 quilts during a single ceremony. That means some mother, aunt, or
grandmother spent the previous eleven months preparing for that single moment. So heavy
are the commitments of the quilters that August is the only month when most of them do not
work on their art. At that time, summer celebrations have come to an end and quilters can
take time to relax, replenish their supplies, and assess their quilting obligations for the coming
year. And those obligations are many.
The quilter herself almost never receives a star quilt. Nor does she seem able to keep one on
hand in her own home. She does not expect to keep a quilt. There are too many occasions to
give them away. One quilter said that at a celebration she will give a blanket to one who has
traveled a long way to attend. These quilt makers are all dedicated to the value of sharing
their work. They are quiet women, who spread their sense of love and friendship with every
quilt they give away.
In conclusion, I would like to quote Father Stan Maudlin, from Blue Cloud Abbey who wrote:
“The word ‘sacrament’ means ‘a visible image that shelters an invisible
reality.’ Catholics number seven principal sacraments, but all people find the
sacred all around them in nature. God has left His signature in all that He has
made. He is waiting, ready to bless. He is not a ‘passing’ God. He is present.
Among the Dakotas, therefore, just as among all men and women, there are
many sacramental, many things that say in a symbolic way ‘the Lord is with
you.’ The Star quilt is that kind of sacramental.
Women now have only cloth with which to make God’s Eye. But they have not
forgotten their power to make a blessing nor to bring God onto their children and their
family. The pride of every Dakota home is God’s Eye- the morning star quilt. It lies
folded to wait as a gift. It covers the bed, and it wraps the dead. It makes sacred
whatever it covers. It is a sacramental. It is a visible image that holds an invisible
reality.
Taken from the following website:
http://www.bluecloud.org/morningstar.html
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Star Blanket Designs 15
Appendix D:
Star Blanket Quilt Examples
5 Row Star Quilts:
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7 Row Star Quilts:
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9 Row Star Quilts:
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Star Blanket Designs 18
11 Row Star Quilts:
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Star Blanket Designs 19
Other Star Quilts:
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Star Blanket Designs 20
More pictures can be found at http://www.nativeamericanstarquilts.net/PhotoGallery.htm
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Star Blanket Designs 21
Appendix E:
Star Blanket Project
Name: ____________________
Students will be expected to create a meaningful star blanket design of 5, 7, 9, or 11 rows.
Design should be in full color.
Be creative – your design does not have to be completed with markers or pencil crayons. You
may use any approved medium you wish and may create this design on canvas, paper, glass or
any other approved material.
Students will be expected to answer the following questions about their design:
1. Does your design have line symmetry? If so how many lines of symmetry? (2)
2. Does your design have rotational symmetry? If so what is the order and the angle of
rotation? (2)
3. Describe any similarity your design contains. (2)
4. What is the fraction of each color in your design to the total design? (4)
5. What is the area of each rhombus in your design? (2)
6. What is the total surface area of each color? (4)
7. What is the total surface area of your design? (2)
8. If you were going to make your design into a quilt would you need to enlarge or reduce
your design? (1)
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Star Blanket Designs 22
9. What scale factor would you need to use in order to use your design to create a quilt? (3)
10. Using your scale factor determine the dimensions of your quilt. (2)
11. Determine how much material of each color you would need to create your quilt. (4)
12. Why did you choose the particular colors for your design and do they have any
significance to traditional Indigenous art? (2)
13. Does your design have any significance to you? Elaborate. (2)
14. Star quilts are created and given as gifts at special occasions. To give a Star Blanket is to
show utmost respect, honor and admiration for someone.
a. Who would you give your Star Blanket to and why? (2)
b. At what occasion would you present your quilt to them? (2)
c. Explain why you choose this occasion? (2)
15. Explain what was the best part of this project and what did you like the least? (2)
Total: ________/40
You will be expected to present your project to the class.
Project Due Date:_____________________ with presentations to follow.
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Star Blanket Designs 23
Appendix F:
Star Blanket Project Rubric
Name: __________________
Your star blanket project will be evaluated based on the following rubric.
Category
Elements of
Design
1
The student did
the minimum or
the artwork was
never completed
Creativity
The piece shows
little effort, no
evidence of
original thought.
The student did
not finish the
work in a
satisfactory
manner
Effort
Skill
Showed poor
craftsmanship or
lack of
understanding.
Responsiveness
Displayed a
negative
response
throughout the
development of
the piece.
Did not
understand the
concept behind
an aboriginal
artwork and they
reflected this in
poor design.
Interpretation
Calculations
X2
Personal
Reflections
25% complete or
accurate
Below minimum
expected
standards.
2
The student did
the assignment
in a satisfactory
manner, but lack
of planning was
evident.
The student’s
work lacked
sincere
originality.
Finished the
project, but it
lacks finishing
touches or can
be improved
upon with little
effort.
Showed average
craftsmanship
and
understanding.
Displayed a
negative
response at times
during the
development of
the piece.
Had some
understanding of
the meaning
behind an
aboriginal
artwork but was
lacking in
certain areas.
50% complete or
accurate
Meets minimum
expected
standards.
3
The art work
showed that the
student applied
the principles
discussed in the
class adequately.
The student’s
work
demonstrates
originality.
The student
completed the
project in an
above average
manner, yet
more could have
been done.
Showed above
average
craftsmanship
and
understanding.
Displayed a
positive
response most of
the time during
the development
of the piece.
Understood the
meaning behind
an aboriginal
artwork and they
demonstrated
this to an
adequate
standard.
75% complete or
accurate
Meets the
expected
standards.
4
The art work
showed the
student applied
the principles in
a unique
manner.
Demonstrates a
unique level of
originality.
Value
The students
gave an effort
far beyond the
requirements of
the project.
Artwork is
outstanding.
Displayed a
positive
response all of
the time during
the development
of the piece.
Understood the
meaning behind
an aboriginal
artwork and they
demonstrated
this to an
exceptional
standard
100% complete
and accurate
Beyond the
expected
standards.
Total: ______/32
General Comments:
ED 870 AU/AV - Spring 2011
Star Blanket Designs 24
Appendix G:
Star Blanket Student Presentation Evaluation Rubric
Student Name: ____________________
Each student’s Star Blanket presentation will be evaluated based on the following rubric.
Category
4
3
2
1
Score
Student is
Student seems The student is Student does not
completely
prepared but
somewhat
seem at all
prepared and has might have prepared, but it is prepared to
obviously
needed a couple
clear that
present.
rehearsed.
more rehearsals. rehearsal was
lacking.
Speaks Clearly Speaks clearly Speaks clearly Speaks clearly Often mumbles
and distinctly all and distinctly all and distinctly
or cannot be
(100-95%) the (100-95%) the most (94-85%) understood OR
time, and
time, but
of the time.
mispronounces
mispronounces mispronounces Mispronounces more than one
no words.
one word.
no more than one
word.
word.
Stands up
Stands up
Sometimes
Slouches and/or
Posture and Eye
straight, looks
straight and stands up straight does not look at
Contact
relaxed and
establishes eye and establishes people during
confident.
contact with
eye contact. the presentation.
Establishes eye everyone in the
contact with room during the
everyone in the presentation.
room during the
presentation.
Facial
Facial
Facial
Very little use of
Enthusiasm
expressions and expressions and expressions and
facial
body language body language body language expressions or
generate a strong sometimes
are used to try to body language.
interest and generate a strong
generate
Did not generate
enthusiasm
interest and
enthusiasm, but much interest in
about the topic
enthusiasm
seem somewhat
topic being
in others.
about the topic
faked.
presented.
in others.
Shows a full
Shows a good Shows a good Does not seem to
Content
understanding of understanding of understanding of understand the
the topic.
the topic.
parts of the topic. topic very well.
Preparedness
Total ______/20
General Comments:
ED 870 AU/AV - Spring 2011