UNIT 4: Let Me Tell You a Story
Time: 20 hours
Unit Description
Oral history and story telling have been vehicles for passing on culture and
tradition for centuries. Long before the widespread literacy we enjoy
today, cultures maintained faith practices and family and societal
histories through story telling. Students learn the importance that story
telling still holds in aboriginal cultures, and how oral communication is
central to maintaining tradition. Native myths, legends and stories are
studied to better understand faith and spirituality of these cultures, and
compared to Catholic gospels and parables. Story telling is important for
strengthening connections with relatives and older generations. Students
connect with their own histories and traditions in conversation with elders
in their own communities. Students’ literacy skills are strengthened in two
ways in this unit; they transition from oral to written story, emphasizing the
writing process, and practice and perform an oral story for elementary
school students. Through the study of the story telling genre, examining
myths, legends and stories, experiencing traditional Native story telling,
and writing and performing their own stories, students gain an
appreciation of the power of oral tradition.
Unit 4 Overview Chart
Time Expectations
3
TVF.03, TF2.02,
hours TF3.01, PMV.01,
IE1.03, IE1.04
OCSGE: 1h, 5e,
7c, 7d, 7f, 7g
7
TVF.01, TF2.04,
hours TF4.01, PMV.01,
PMV.02, PMV.03,
PMV.04, PM2.03,
PM3.03, PM4.03
Assessment
-Anecdotal
teacher
assessment
Task/Activities
-study the history and tradition
of Native story telling
-attend the Native Cultural
Centre’s Story Telling
presentation
-Comparative
Essay
-examine Native myths, legends
and stories
-write a comparative essay
between a Native and Catholic
faith story
-Interview
-Written Story
-interview cultural elder or
relative to learn a story
-review short story conventions
-use the writing process to
record the oral story
OCSGE: 1a, 1b,
4d, 6b, 7g
7
TF1.03, TF3.01,
hours TF4.03, PMV.01,
PMV.04, PM1.02,
PM1.03, PM1.04,
PM3.02
OCSGE: 1h, 4a,
4g, 6a, 6c
3
TF2.02, TF4.04,
hours PMV.04, IEV.04,
IE1.02, IE2.02,
IE2.04
-Short story
performance
-practice and perform the story
from the elder for elementary
school students
OCSGE: 3b, 4f,
5d, 5g, 6e, 7j
Activity 4.1: The History of Storytelling
Time: 3 hours
Description and Planning Notes
In this activity, students will study the history and significance of storytelling
in Native culture. Through readings from the Native Drums website,
students understand how storytelling factors into current aboriginal
cultural practices and examine the differences between myths, legends
and stories. Examples of each of these genres are studied. Students
experience first hand the power of story, as they attend a traditional
storytelling at Dodem Kanonhsa’, a cultural facility of the Native
Canadian Centre of Toronto, and participate in a presentation of stories
from various first nations in North America.
Teachers should photocopy the Culture of Storytelling, and Myth, Legend
and Story handouts for each student. The storytelling presentation is
arranges though the Native Canadian Centre of Toronto’s Visiting Schools
program at 416.964.9087. The experience at Dodem Kanonhsa’ is
culturally rich as the facility is a lodge built on Ojibwa, Cree and Mohawk
concepts, however, the storytellers may also come to the school. This
workshop is only available in winter as per traditional protocol.
Strands and Learning Expectations
Strand(s): Theory and Foundation; Processes and Methods of Research;
Implementation, Evaluation, Impacts, and Consequences
Overall Expectations: TVF.03, PMV.01
Specific Expectations: TF2.02, TF3.01, IE1.03, IE1.04
OCSG Expectations: 1h, 5e, 7c, 7d, 7f, 7g
Teaching/Learning Strategies
Part A
 Distribute the readings and activities on storytelling.



This work may be done in a variety of ways. As there is a lot of
reading, it may be divided up to suit the work styles of the class.
Possible delivery methods include:
1. reading the materials to students and completing the
questions as a group
2. assigning the readings as independent work and taking up
the questions as a group
3. having students work in groups, reading at a time stopping to
take up and discuss questions
The readings and questions should be discussed as a class,
regardless of how the students study the materials.
Discussions should include:
1. the history and significance of passing down story
2. the interdependence of story and tradition
3. relationship with the natural world
4. symbolism and metaphors
5. significance of the circle
6. characteristics of myth, legend and story
7. importance of elders and intergenerational relationships
Part B
 Attend or host the Native Canadian Centre’s Storytelling
presentation.
 Discussions about the presentation will take place later on in the
unit, however, a wrap up conversation will help to solidify important
aspects of the presentation, traditions covered, stories heard, etc.
Assessment and Evaluation
 Anecdotal teacher assessment of class discussion and completion
of the readings and activities.
Activity 4.2: Native and Catholic Faith Stories: A Comparison
Time: 7 hours
Description and Planning Notes
Stories play an active role in Catholic faith teaching. By looking at stories
in our faith, it is evident that many similarities exist in how Native and
Catholic beliefs are communicated. Students examine further examples
of Native myths, legends and stories and choose one for comparison to a
Catholic faith story. The comparison will examine how the two stories
chosen are similar and different in terms of characters, morals and lessons
and symbols. A strong emphasis is placed on the writing process as
students will edit and peer-edit their drafts before completing the final
essay. This essay should be done in class so that the process can be
monitored and followed.
Teachers should photocopy the More Native Myths, Legends and Stories
handout, the comparative essay assignment and rubric and two editing
handouts for each student. The editing sheets are the same from unit
one.
Strands and Learning Expectations
Strand(s): Theory and Foundation; Processes and Methods of Research
Overall Expectations: TVF.01, PMV.01, PMV.02, PMV.03, PMV.04
Specific Expectations: TF2.04, TF4.01, PM2.03, PM3.03, PM4.03
OCSG Expectations: 1a, 1b, 4d, 6b, 7g
Teaching/Learning Strategies
 Distribute the comparative essay assignment and rubric, and
editing handouts. Explain the assignment.
 Review the format of a five-paragraph comparative essay. This
essay is explained as a point by point comparison on the
assignment sheet, meaning that the stories will be compared on
three points, with each comparison point making up one body
paragraph.
 As a class, brainstorm some popular Catholic parables, bible stories
or gospels that can be used in this assignment.
 Distribute the handout More Native Myths, Legends and Stories.
Students may use one of these readings or one from the last activity
in their comparison, but are not bound to do so. Encourage
students to discover more Native stories online or at the library.
 Explain how the essay writing process will be emphasized and that
the writing will be done in class. To this end, students must bring in
copies of the two stories they are comparing. Set the timeline for
the writing process and review the drafting and editing steps that
were done in unit one.
 Remind students that they will be handing in all notes, drafts and
editing checklist with their final copy.
 As students draft, edit and write, the teacher should use the class
time to move around and conference with each student. This will
allow for any individualized help and guidance the student may
need.
Assessment and Evaluation
 The comparative essay and writing process is evaluated using the
rubric provided.
Activity 4.3: From Oral to Written Story
Time: 7 hours
Description and Planning Notes
Students develop writing skills in this activity as they use the writing process
and knowledge of short story format to move from oral to written story.
Students interview a relative or cultural elder to learn a faith or traditional
story, a family history or cultural practice, myth or legend. After learning
the story students will use the writing process, including visual
storyboarding, to create a written version of the tale. Short story format is
reviewed to help write an entertaining and organized piece. Emphasis is
placed on transitioning from oral to written language as a transferable skill
in all forms of writing, validating both forms of communication.
Teachers should photocopy the interview sheet, short story review, the
storyboard template and short story rubric. The self-editing tip sheet and
peer editing checklist are used in this assignment, however, students may
not need repeat copies of these handouts.
Strands and Learning Expectations
Strand(s): Theory and Foundation; Processes and Methods of Research
Overall Expectations: PMV.01, PMV.04,
Specific Expectations: TF1.03, TF3.01, TF4.03, PM1.02, PM1.03, PM1.04,
PM3.02
OCSG Expectations: 1h, 4a, 4g, 6a, 6c
Teaching/Learning Strategies
Part A
 Distribute the interview sheet, short story rubric and storyboard
template. Explain the assignment.
 Students must choose someone to interview who they feel will best
give them a story to turn into a written piece.
 The story must be a family, cultural or faith story. Students may have
to ask more than one person before finding an appropriate story for
the assignment.
 Students are encouraged, where possible, to record the interview
as opposed to trying to write down every word that is said. Review
ways that students may take notes during the interview in a way
that will jog their memory upon review.
 The point of this activity is not to retell the story verbatim, but to
communicate the main message and events. Students are
encouraged to enjoy the storytelling interview as an experience
with the interviewee.



Discuss what was learned from the storytelling presentation at
Dodem Kanonhsa’ and their studies of storytelling traditions, and
how this will help their interviews.
Once students have their story, review short story format with the
handout provided. Students will already know these terms and
characteristics from grades nine and ten English, so a simple review
should suffice.
Have students participate in creating the definitions for the review
sheet and take notes on the handout as the terms are reviewed.
Part B
 The story writing process will begin with guided use of storyboard
technique. The use of simple visual images to organize ideas will
help students move the piece from an abstract oral tale, to a more
fluent written story. Guide the class through each step of story
writing:
1. Distribute the storyboard template. The storyboard is not
intended to be a work of art. Students can use stick figures to
depict events. The point is to get their ideas organized.
Students are to use whatever notes and/or audio they have
from their interviews to help retell the story. They are
encouraged to first think about the order of events in the
story. These events are then illustrated in order on the
storyboard.
2. Next, students will buddy up and share their story boards with
a partner. This sharing will help students see if the events flow
smoothly and if all of what they want to communicate is
there. Students can edit and add to their storyboards where
necessary.
3. After sharing their diagrams and stories, students will begin to
put words to their images. Have students write descriptions of
each frame, in point form, on a separate piece of paper. This
if the first step towards writing the story. After this step,
students can refer to their interview notes and storyboards,
but should primarily be working from this raw version of their
tale.
4. Now that students have a simple version of their story, they
can begin to craft the piece. It is at this point where students
must decide on a narrator and be sure that their story
contains all of the necessary plot points. This point would be
a good one to have a mini-lesson on dialogue techniques
and punctuation. Teachers often assume that students will
know how to organize dialogue, but a quick review is helpful.
5. As students continue to work on their stories, encourage
discussion and sharing among students. Remind them that
peer editing is an important part of the writing process and
that they should share ideas and advice as they write. The
teacher should also be circulating around the class to
conference with students and help guide their writing.
Assessment and Evaluation
 The short story is evaluated using the attached rubric. All interview
notes, storyboards, notes and drafts are to be handed in with the
final draft.
Activity 4.4: Sharing Story
Time: 3 hours
By this point in the unit, students have gained a stronger appreciation for
the importance of storytelling and how culture and faith are connected
to this genre. They have learned how Native and Catholic story play an
important role in faith development and community building. Using the
stories they inherited and recorded in the last activity, they will perform a
storytelling session for elementary school students.
Teachers should photocopy the storytelling rubric for each student. The
workshop should be arranged with the elementary school teacher.
Strands and Learning Expectations
Strand(s): Theory and Foundation; Processes and Methods of Research;
Implementation, Evaluation, Impacts, and Consequences
Overall Expectations: PMV.04, IEV.04
Specific Expectations: TF2.02, TF4.04, IE1.02, IE2.02, IE2.04
OCSG Expectations: 3b, 4f, 5d, 5g, 6e, 7j
Teaching/Learning Strategies
 Explain to students that they will be sharing the stories that they
have inherited through the last activity with elementary students.
 As a class, discuss the elements of the Dodem Kanonhsa’
experience that made it entertaining, enjoyable and interesting.
Discuss ways in which students can prepare to tell their stories to the
elementary school audience to the same effect.
 Remind students that they do not have to memorize their story
word-for-word, but rather focus on communicating the moral or
lesson of their story.
 Arrange students into small groups to practice their stories and
prepare for their performances.
 During the workshops, students should break into their practice
groups, taking an equal number of elementary school children. This

smaller group performance not only saves time, but also creates a
more comfortable presentation forum.
Have the elementary teacher help evaluate the performances.
Assessment and Evaluation
 The storytelling will be evaluated using the attached rubric.
Resources
 Bible
 Dodem Kanonhsa’ 416.952.9272 or
http://www.ncct.on.ca/dodemkanonhsa.html
 Native Cultural Centre of Toronto 416.964.9087 or
http://www.ncct.on.ca
 Native Drums Website http://nativedrums.ca
The Circle
First Peoples’ Cultures
All readings and questions adapted from the Native Drums Web Site
http://nativedrums.ca
All of our oral histories remind us that every act is a spiritual connection to all life
forces. The circle is an important symbol of that belief. It is one of our most
meaningful teaching tools. Within the circle, all life is equal: “We are all related.”
That belief guides how we walk, talk and view the world. An example is the
Medicine Wheel. It is a circle divided into four equal parts; each part can
represent, for example: one of the earth’s elements (fire, water, earth and air),
one of the four seasons, one segment of the day (dawn, noon, dusk and night)
or even one aspect of our human nature (spiritual, emotional, physical and
mental). The east represents birth - the first stage of life, while the north is the last
stage - the Elder stage. But the circle is in motion, so as spring follows winter,
rebirth follows death and the perpetual cycle of creation is maintained.
Personal Story from Lana Whiskeyjack, Native Drums Website:
I have been a part of several Healing or Sharing Circles and have learned so
much from other people as we all sat facing one another. There was no person
sitting in a position of authority, everyone was made to feel equal.
Each time I was a part of those circles I was reminded of where I come from and
how I should think, as Elders or teachers would then begin talking about the
circle and how one should treat one another. Each person would speak, one at
a time, and other people listened wholeheartedly. I always left those circles
feeling good and a part of a larger family or community.
Like the Medicine Wheel, the drum is circular. At ceremonies, socials and
powwows the drum is at the center. The singers sit in a circle facing the drum,
behind them is a circle of women, then dancers, then family and friends, and so
on – circles upon circles with the drum, the heartbeat of our nations at the
centre.
Questions:
1. What do oral histories remind us of?
2. The circle is one of the most meaningful teaching tools in First Peoples’
cultures. Explain its significance.
3. From your point of view, what does it mean that “we are all related”? How
does this concept illustrate interdependence? How might the world change
if we all lived by this belief?
What are Oral Traditions?
Excerpt from ‘Mythology and Symbols’,
Lana Whiskeyjack, Writer, Native Drums Website
As First Nations youth, we learn about our culture by spending a lot of time
watching and listening to elders - in our homes, at gatherings and at ceremonies.
Over time we learn about who we are and where we fit in. Knowledge about
these important things is transmitted from one generation to the next through
actions and by word of mouth. That is the way it was in the past. That is the way it
is still done today. That is what is meant by oral traditions.
James Lamouche defines oral tradition as, “the transmission of knowledge
passed down across generations using memory and language.” (Personal
interview 2005) Memory, lived experience and language converge into stories,
myths, legends, songs. Through these we learn about our past, present and
future. It is important to know and understand these things so that we in turn can
pass on this fundamental wisdom to the next generation.
Our Nations have lost a lot of traditional knowledge and languages. In many
families the important connection between generations was broken when
children were forced to go to residential schools where they were forbidden to
speak their language and practise their cultural ways. Many traditional elders
have gone to the spirit world, taking with them all they know and have
experienced. Society and culture has also changed. The way we learn, think,
speak and live is different from the way our ancestors lived.
Today there are new ways of learning about our history and culture. We can look
in a history book, or watch television, rent a DVD or search on the Internet. But
our most valuable source of knowledge is still the elders who are willing to share
their wisdom and experience. All we have to do is respectfully ask and they will
share what they know.
Reference:
James Lamouche-Knibb, personal interview January 3, 2005.
Excerpt from Lana Whiskeyjack, Saddle Lake First Nations (2004)
Lana Whiskeyjack, Writer, “Mythology and Symbols”, Native Drums Website
For a short while I lived with Nohkom (my grandmother) and she would teach me
through her daily experiences. I didn’t know that I was learning until I was much
older. For example, before we would leave for long walks into the bush, Nohkom
would have tea and bannock set on the table in case someone would come
into the house when we were not there to greet them. She said that we must
always feed people, even if we have very little because the Creator will always
supply us with what we need. After setting the table with cups and utensils we
would leave for our walk. On our walks Nohkom would always tell me something
about an animal we would see or we would play a game of ‘whose tracks or
droppings?’ She would share funny stories and legends of animals or the little
people.
We would walk to a clearing where Nohkom had poles to stretch her hides.
While she scraped hides, she would share hunting stories, and how the old
people would speak to the animals. Time passed without me even knowing that
I was being taught something.
In the evening the tea and bannock would be gone and whoever drank and
ate left some rabbit meat in the fridge. She would smudge the food we were
given and I would always smile at her magical powers. That was how I learned.
My experiences with Nohkom told me a lot about our people and the way we
lived
Questions:
1. How do we learn about our culture?
2. How does James Lamouche define oral tradition?
3. What happens to memory, lived experiences and language?
4. How do we learn about our past, present and future?
5. Name one reason why Nations have lost a lot of traditional knowledge and
languages.
6. Although today there are many new ways of learning, who is still considered
to be the most valuable source of knowledge?
7. What kind of knowledge did Lana Whiskeyjack’s grandmother pass onto her?
Provide three examples.
What Do Myths, Legends and Stories Tell Us?
Stories have a life of their own. They share how one should live on earth, and with
other beings. They pass on how each living being is given a special purpose in
life, a purpose that benefits the well-being and survival of the community. First
Peoples’ ancestors were physically, mentally, spiritually and emotionally aware of
all life beings and lived their lives in relation to keeping balance with each other.
Myths, legends and stories tell that rocks, animals, plants, the water, wind, earth
and insects are life forms with special medicines or power and that all beings are
related. In most First Peoples’ languages everything is named as a relation. For
example, in prayers the animals are thanked as brothers or sisters. The belief that
‘we are all related’ is the foundation to First Peoples’ culture, spirituality and
identities.
Oral narrative takes one into a physical and spiritual journey, revealing proper
behaviours in living in harmony and balance with all living beings. These stories
teach how one should treat all living creations and remind one of who they are
and where they come from. There are other stories that are meant to be
humorous, to educate, and there are others meant to be taken with great
respect and seriousness.
Questions:
1. What do stories teach us? (i.e. What do they share? What do they pass on?)
2. What is the foundation of First Peoples’ culture, spirituality and identity?
3. How do myths, legends and stories reinforce this belief that ‘we are all
related’? Provide an example. (Think about who is meant by ‘we’.)
Myths, Legends, Stories
Stories are the cultural and historic wealth of our people. Archaeologists can tell
us about ancient artefacts and structures of the past by digging into the earth.
But, as Ruth Whitehead explains, “Only in their stories do we hear the People
themselves speaking about their world …”(Whitehead 1988:2).
Each of our Nations has its own myths, legends, stories and songs that reflect the
unique geography, history and experiences of its people. The origins of myths
and legends are unknown, but many Aboriginal people believe that they came
from the Creator, from animal spirits, or our ancestors. There are other beliefs that
the land gave birth to stories, that each rock, tree, hill, flower carries memories of
growth and changes.
Myths are central stories from which other stories are braided, like legends of
tricksters, small people, talking animals working with the help of water, or rocks.
Michael William Francis, a Mi’kmaq elder and storyteller explained the difference
between myths, legends, and stories like this. Myths are the original stories, the
sacred tales that tell how things came to be in the first place. Legends pick up
where myths leave off. They describe the role of culture heroes like Kluskap
(Mi’kmaq), or Nanaboozhoo (Ojibwe) who helped to make the world a more
liveable place for people. Stories, on the other hand, tell of historical events and
personal experiences. While the content of myths and legends remains
essentially the same over time, storytellers may take more liberties with stories
(Franziska von Rosen, personal communication, 2005).
In the Nehiyaw (Cree) culture and language there are three types of stories:
acimowin is a tale of everyday experience and people usually share this type
when asked how their day was; atayohkewin is a myth that has been passed
down through generations; and mamahtawacimowin is a tale of miracles or
incredible experiences that usually happens in spiritual journeys.
Note, when reading these stories, it is important to understand that many
indigenous languages in Canada are based on animate and inanimate ways of
thinking and speaking. In others words, all creation is either alive or not alive.
Everything has a spirit (animate) or no spirit (inanimate), but each has a purpose,
a gift that contributes to the well being of the living community. Although there
are many diverse languages and peoples, they all shared a common belief that
‘we are all related.’ All life forms were created equal. As you will see in the
following stories, animals and birds speak, sing, teach, and communicate with
people and each other.
Questions:
1. Ruth Whitehead is quoted as saying, “Only in their stories do we hear the
People themselves speaking about their world …”(Whitehead 1988:2).

Why is it so important that “the People themselves [speak] about their world”?
(i.e. Think of times when First Peoples have not been permitted to speak.
What were the effects of these? (*i.e. Residential Schools, etc.))
2.
Each Nation has its own myths, legends, stories and songs. What is reflected
about the people of these nations in these narratives. (3 points)
3.
What is the difference between a myth, legend and story?
4.
Although there are many diverse languages and peoples, what is the
common belief that they all share?
MYTH, LEGEND AND STORY
All readings and questions adapted from the Native Drums Web Site
http://nativedrums.ca
A Mohawk Creation Myth
Here is an example of a Mohawk Creation myth collected by Rona Rustige. She
collected these stories from residents of Tyendinaga Reserve, Ontario who
learned them from their grandparents and other elders.
The Earth World
The woman from the sky world went through the hole in the sky and fell
downwards; there was only water below her. The beaver, the otter, the muskrat,
and the turtle saw her fall, and fearing that she would drown sent a flock of
ducks to catch her. The ducks flew underneath the woman, caught her on their
backs, and set her safely down on the turtle’s shell.
When she had rested she told the animals what must be done. She said that she
needed soil, which could be obtained from the bottom of the sea that covered
the world. The strong beaver was the first to go down towards the bottom. He
was gone a very long time until finally his drowned body floated to the surface.
The otter considered himself to be a much better swimmer than the beaver; he
was the second to make the attempt. He was down for an even longer time,
and when his body surfaced he too was dead. Finally the muskrat attempted
the dive. He was underwater longer even than the otter, but his body eventually
floated to the surface. The woman discovered a tiny piece of soil in the crevice
of the muskrat’s paw, and this she sprinkled on the edge of the turtle’s shell.
While the woman slept, the world grew from the edge of the turtle’s shell and
extended as far as one could see in every direction. By the time she awoke there
were willows growing along the edge of the world, and they were the first trees
to grow upon the earth (Rustige 1988: 6-7).
Questions:
1. Lana Whiskeyjack writes, “Everything … has a purpose, a gift that contributes
to the well being of the living community. Although there are many diverse
languages and peoples, they all shared a common belief that ‘we are all
related.’ All life forms were created equal.”
How does the Earth World demonstrate Native belief of interdependence?
An Ojibwe Legend
The Ojibwe have a famous legend of how the ceremonial powwow drum came
to their people through a Sioux named Tailfeather Woman. This story was written
in a letter to Thomas Vennum in 1970 by William Bineshi Baker, Sr., an Ojibwe
drum maker from Lac Court Oreilles Reservation in northern Wisconsin. Thomas
Vennum states that William Bineshi Baker began to learn his drum traditions on
the lap of his father (Vennum 1982: 8).
The Vision of Tailfeather Woman
Here is the story of the beginning of the ceremonial powwow Drum. It was the
first time when the white soldiers massacred the Indians when this Sioux woman
gave four sons of hers to fight for her people. But she lost her four sons in this
massacre and ran away after she knew her people were losing the war. The
soldiers were after her but she ran into a lake (the location of which is never
mentioned in the “preaching” of the Drum’s story). She went in the water and
hid under the lily pads. While there, the Great Spirit came and spoke to her and
told her, “There is only one thing for you to do.”
It took four days to tell her. It was windy and the wind flipped the lily pads so she
could breathe and look to see if anyone was around. No—the sound is all that
she made out, but from it she remembered all the Great Spirit told her. On the
fourth day at noon she came out and went to her people to see what was left
from the war. (The date of this event is unknown.) The Great Spirit told her what
to do: “Tell your people, if there are any left (and he told her there was), you tell
your people to make a drum and tell them what I told you.” The Great Spirit
taught her also the songs she knew and she told the men folks how to sing the
songs. “It will be the only way you are going to stop the soldiers from killing our
people.”
So her people did what she said, and when the soldiers who were massacring
the Indians heard the sound of the drum, they put down their arms, stood still and
stopped the killing, and to this day white people are always wanting to see a
powwow.
This powwow drum is called in English “Sioux drum,” in Ojibwa bwaanidewe’igan.
It was put here on earth before peace terms were made with the whites. After
the whites saw what the Indians were doing and having a good time—the
Indians had no time to fight—the white man didn’t fight. After all this took place
the whites made peace terms with the Indians. So the Indians kept on the
powwow. It’s because the Sioux woman lost her four sons in the war that the
Great Spirit came upon her and told her to make the Drum to show that the
Indians had power too, which they have but keep in secret (William Bineshi
Baker, Sr. as quoted in Vennum 1982: 44-45).
Questions:
1. How does the world come to be a more liveable place in the legend The
Vision of Tailfeather Woman? Think of the following in order to answer:
A Personal Story
(Shared by Trina Shirt (Nehiyaw), Youth Advocate, Saddle Lake, First Nations)
This story about the healing power of the drum is shared by Trina Sirt (Nehiyaw), a
youth advocate, of Saddle Lake First Nation, Alberta (2004):
When I was younger, I didn’t think of the drum. I wasn’t affected by it and
didn’t believe in it.
My first experience with the drum was at a powwow in Onion Lake,
Saskatchewan. We camped beside some well-known champion dancers who
were married. As they were walking to the arbour, the wife stepped on some
medicine. Someone had put it there, someone who was probably jealous and
didn’t want them to dance. [‘Medicine’ can be thoughts, words, or actions,
harmful if not used in the right way.] The medicine hurt her; she couldn’t walk.
Her husband carried her back to their camp. He went back to the arbour where
everyone was dancing and blew a whistle for her. He blew it so that he may call
for help for his wife. It was then I felt the power of the drum. It was like I heard
buffalo nearby. People were crying from the power of that drum, song, dance
and whistle. You could feel the drumbeat within your chest. Every time that
dancer’s foot hit the ground, I could feel it. I cried. I could feel the power of
healing go through me. It was a powerful healing song. If you believe in it, it is
effective. That dancer danced with all his heart. He danced to call for spiritual
help for his wife so that she could dance again and be healed. Some say his
love healed her. He gave tobacco and gifts to the Elders who also helped by
praying. Later on, his wife danced, she danced jingle.
Questions:
1.
What stayed with you the most about this story? What did you learn from it?
2.
Ms. Shirt speaks of “the power of that drum”. What made it so powerful?
MORE NATIVE MYTHS, LEGENDS AND STORIES
All readings from the Native Drums Web Site
http://nativedrums.ca
The Wolf Clan and the Salmon (A Story from the Northwest Coast)
“A story from the Nass River illustrates this. It tells how, in a canyon near
the head of the river, there was a wonderful place that the tribespeople
could always visit to find salmon and wild berries. The villagers who lived
nearby were wealthy enough to trade with others and much respected.
As time went on, the younger people forgot the old traditions; sometimes
they killed small animals and left the carcasses for the crows and eagles
to eat. Their elders warned them that the Chief in the Sky would be
angered by such foolish behaviour, but nobody heeded them. In one
case, when the salmon season was at its height and the fish were
swimming up river in their myriads, some of the young men of the Wolf
Clan thought it amusing to catch salmon, make slits in the fish’s backs, put
in pieces of burning pitch pine, and put them back in the water so that
they swam about like living torches in the river. It was spectacular and
exciting, and they did not think about the cruelty to the salmon, or the
waste of a good food. The elders as usual protested and as usual the
young people took no notice. At the end of the salmon run season the
tribe made ready for the winter ceremonies. But as they prepared they
heard a strange noise in the distance, something like the beating of a
medicine drum, and grew worried. As there was nothing very threatening
about it, the young people said, ‘Aha, the ghosts wake up, they are going
to have a feast too.’ The old people guessed that the young men’s
thoughtlessness in ill-treating the salmon had brought trouble on the tribe.
After a while the noises died down, but within a week or two the beating
of drums became louder and louder. Even the young warriors became
very careful about what they did, because they were frightened. The old
people noted the young men’s fear, and said it would be their fault if the
tribe perished. Eventually a noise like thunder was heard, the mountains
broke open, and fire gushed forth until it seemed that all the rivers were
afire. The people tried to escape, but as the fire came down the river, the
forest caught fire and only a few of them got away. The cause of the
conflagration was said by the shamans to be entirely due to the anger of
the spirit world at the torture of the salmon. Thus the powers of nature
insisted on a proper regard for all their creatures (Burland 1965: 36-37).
Crow Indian Water Medicine (A Crow Legend)
Long ago, somewhere across the plains, there was a Crow Indian who had lost
his son in a war. Stricken with grief, he went up into the mountains to pray and
wait for a vision that would help him avenge the death of his son. He slept ten
nights. Finally, while in a deep sleep, he had a dream. In his dream he heard
singing and drumming. A man came to him and invited him to a place where
there was dancing. He followed the man to a lodge where there were many old
men and women. “There were eight men with drums. He also saw weasel skins,
skins of mink and otter, a whistle, a smudge-stick, some wild turnip for the
smudge, and some berry-soup in a kettle. One old woman had an otter skin with
weasel-skin around it like a belt.” (Wissler and Duvall 1995 (reprinted): 80-81)
The Crow Indian stayed there and learned songs the people sang. When
he awoke, he returned to his people and brought back the powerful
Crow-water-medicine. If people wished for things, the Crow man would
bring out his water medicine and they would sing, pray and dance. After
awhile, in some way, the wish would come true.
Water medicine is very powerful not only in treating the sick but because
water is vital in the prairies. Ceremonies like the Sundance revolve in
honouring and requesting for water.
Hiwatha (An Algonquin Story)
When Hiwatha was small, he lived with his grandmother Nokomis. He
always wanted to sing. Nokomis told him: “You must go into the forest and
listen to the birds sing, and you must learn to imitate them.” Then, each
morning at dawn, Hiwatha set off for the woods to listen to the birds, but
he could not reproduce their songs. Once more, his grandmother told
him: “You must try again.” The next morning Hiwatha returned to the
forest: he listened and listened to the birds, and tried to imitate their songs.
Suddenly he heard extraordinary music coming from far away. Walking
slowly, he followed the echo and arrived at a large waterfall. It was this
waterfall that had produced the music. Soon, Hiwatha began to sing and
he called the song: “Laughing Waters”. He carved an alder flute and
played his song. Consequently each time Hiwatha returned to the woods,
he always took with him his flute. He played and sang to the birds his song
about the laughing waters. “And that was how First Peoples obtained
their music,” said White Caribou Woman (Wa Ba Die Kwe)
[Clément/Martin 1993: 83].
Elderberry Flute Song (A Poem and Modern Iroquoian Myth)
(This is a modern Iroquoian myth about the flute. It is a poem by Peter Blue Cloud (in
Conlon 1983: 12). Peter Blue Cloud (Turtle Clan) is a Mohawk from Kahnewake, Quebec.)
He raised the flute to his lips
sweetened by springtime
and slowly played a note
which hung for many seasons
above Creation.
And creation was content
in the knowledge of music.
Then note followed note
in a melody which wove
the fabric of first life.
The sun gave warmth to waiting seedlings,
and thus were born
the vast multitudes
from the song
of the flute.
Comparative Essay
Assignment
A comparative essay examines the similarities and differences of two or
more things. In this essay, you will compare a Native myth, legend or story
with a Catholic faith story.
Choose one Native myth, legend or story, and one Catholic parable,
bible story or gospel.
You will compare these two readings in terms of their characters,
lessons/morals and symbols.
Your five-paragraph essay must follow this format:
Introduction
 one paragraph, about 7 sentences long
 briefly summarize each story
 thesis statement must list the three points of comparison
Body
 three paragraphs, one for each point of comparison, each about
10 sentences long
 each paragraph compares the two stories on one point from the
thesis
 the order of the body paragraphs must follow the order of the
points in the thesis
 use specific examples from each story to support your ideas
Conclusion
 one paragraph, about 7 sentences long
 summarize your main points
 concluding statement
All of your essay writing will be done in class so that you may conference
with your teacher and edit and peer edit your work.
You must hand in the attached comparison chart, all notes, drafts, a copy
of each story and bibliography with your final essay and rubric.
Your essay will be evaluated using the attached rubric.
Comparison Chart
Native Selection
Title:
Characters
Moral/Lesson
Symbols
Catholic Selection
Title:
Comparative Essay
Category
Thinking
Analyse concepts
Analyse concepts
providing details
Analyse how the ideas
and issues interrelate
Critically analyse ideas,
arguments, and bias
found in resources
Evaluate information to
identify supporting
details
Evaluate information
using supporting
factual details
Communication
Communicate
information effectively
Communicate
information using an
appropriate format
Describe ways in which
each story are similar
and different
Application
Analyse the different
perspectives in each
story
Apply proper
conventions of
standard English
Apply the writing
process
Demonstrate ability to
apply critical thinking
strategies
Use criteria to make a
comparison
Level 1
Level 2
Level 3
Level 4
Conclusions have
limited factual
support
Analysis of
concepts provides
limited details
Conclusions have
some factual
support
Analysis of
concepts provides
some details
Conclusions have
thorough factual
support
Analysis of
concepts provides
thorough details
Analysis
demonstrates
limited use of
critical thinking
Demonstrates
limited ability to
critically analyse
resources
Evaluation of
information
demonstrates
limited
understanding
Evaluates
information using
few supporting
factual details
Analysis
demonstrates some
use of critical
thinking
Demonstrates some
ability to critically
analyse resources
Evaluates
information using
some supporting
factual details
Conclusions have
considerable
factual support
Analysis of
concepts provides
considerable
details
Analysis
demonstrates
considerable use of
critical thinking
Demonstrates
considerable ability
to critically analyse
resources
Evaluation of
information
demonstrates
considerable
understanding
Evaluates
information using
many supporting
factual details
Communicates
with limited
effectiveness
Limited ability to
use an appropriate
format
Description
provides limited
detail
Communicates
with some
effectiveness
Some ability to use
an appropriate
format
Description
provides some
detail
Communicates
with considerable
effectiveness
Considerable
ability to use an
appropriate format
Description
provides
considerable detail
Communicates
with a high level of
effectiveness
A high level of
ability to use an
appropriate format
Description
provides thorough
detail
Analysis
demonstrates
limited knowledge
Analysis
demonstrates some
knowledge
Many errors make
writing difficult to
understand
Does not apply the
writing process
effectively
Limited ability to
apply critical
thinking strategies
Many errors, but
information can be
understood
Applies some steps
of the writing
process effectively
Some ability to
apply critical
thinking strategies
Analysis
demonstrates
considerable
knowledge
Some errors
Analysis
demonstrates
thorough
knowledge
Few errors
Rarely uses criteria
to make a
comparison
Sometimes uses
criteria to make a
comparison
Applies some steps
of the writing
process effectively
Considerable
ability to apply
critical thinking
strategies
Often uses criteria
to make a
comparison
Applies all steps of
the writing process
effectively
A high level of
ability to apply
critical thinking
strategies
Routinely uses
criteria to make a
comparison
Evaluation of
information
demonstrates some
understanding
Analysis
demonstrates a
high level of use of
critical thinking
Demonstrates a
high level of ability
to critically analyse
resources
Evaluation of
information
demonstrates
thorough
understanding
Evaluates
information using a
wide range of
supporting factual
details
Story Interview
Interviewer:
Interviewee:
Date of Interview:
Place of Interview:
Interviewee Background/Relationship to Interviewer:





Origin of Story/Genre:





Story Notes:








Short Story Review
Plot Diagram
CLIMAX
DENOUEMENT
RISING
ACTION
RESOLUTION
CONFLICT
INCITING
INCIDENT
Definitions

Conflict

Inciting Incident

Rising Action

Climax

Denouement

Resolution

Theme

Narrator/Narrative point of view

Setting

Protagonist

Antagonist
Storyboard
You can continue your storyboard on a separate sheet of paper.
Short Story
Category
Knowledge
Demonstrate
understand of the
skills/attitudes
required for research
Level 1
Level 2
Level 3
Level 4
Limited
understanding of
the skills/attitudes
required for
research
Some
understanding of
the skills/attitudes
required for
research
Considerable
understanding of
the skills/attitudes
required for
research
Thorough
understanding of
the skills/attitudes
required for
research
Limited analysis
Some analysis
Considerable
analysis
Thorough
analysis
Analysis of
subject’s views
demonstrates
limited ability to
make
connections
Limited ability to
access
appropriate
resources
Analysis of
subject’s views
demonstrates
some ability to
make
connections
Some ability to
access
appropriate
resources
Analysis of
subject’s views
demonstrates
considerable
ability to make
connections
Considerable
ability to access
appropriate
resources
Analysis of
subject’s views
demonstrates a
high level of
ability to make
connections
A high level
ability to access
appropriate
resources
Evaluates
information with
limited use of
criteria
Evaluates
information with
some use of
criteria
Evaluates
information with
considerable use
of criteria
Evaluates
information with
thorough use of
criteria
Limited ability to
communicate
using an
appropriate
format
Some ability to
communicate
using an
appropriate
format
Demonstrates ability
to communicate
and present
information
Limited ability to
communicate
and present
information
Some ability to
communicate
and present
information
Formulate questions
for a variety of
research purposes
Formulate
questions with
limited clarity
Formulate
questions with
some clarity
Considerable
ability to
communicate
using an
appropriate
format
Considerable
ability to
communicate
and present
information
Formulate
questions with
considerable
clarity
A high level of
ability to
communicate
using an
appropriate
format
A high level
ability to
communicate
and present
information
Formulate
questions with a
high degree of
clarity
Many errors
make writing
difficult to
understand
Does not apply
the writing
Many errors, but
information can
be understood
Some errors
Few errors
Applies some
steps of the
Applies most
steps the writing
Applies all steps
of the writing
Thinking
Analyse and explain
key elements of the
piece
Analyse how each
subject views the role
of personal
experience
Be able to access
appropriate
resources using
various strategies
and technologies
Evaluate information
using criteria
developed in class
Communication
Communicate
information using an
appropriate format
Application
Apply proper
conventions of
standard English
Apply the writing
process
Demonstrate ability
to apply creative
thinking strategies
Develop and apply
effective criteria for
evaluating the
quality of your
project
Use thinking skills to
develop effective
interdisciplinary
products/activities
process
effectively
Limited ability to
apply creative
thinking strategies
writing process
effectively
Some ability to
apply creative
thinking strategies
Develops and
applies criteria
with limited
effectiveness
Develops and
applies criteria
with some
effectiveness
Limited ability to
use thinking skills
Some ability to
use thinking skills
process
effectively
Considerable
ability to apply
creative thinking
strategies
Develops and
applies criteria
with considerable
effectiveness
Considerable
ability to use
thinking skills
process
effectively
A high level
ability to apply
creative thinking
strategies
Develops and
applies criteria
with a high
degree of
effectiveness
A high level
ability to use
thinking skills
Storytelling Workshop
Category
Knowledge
Demonstrate
understanding of
the collaborative
attitudes and skills
required
Thinking
Explain concept in
an organized
manner
Level 1
Level 2
Level 3
Level 4
Demonstrates
limited
understanding
Demonstrates
some
understanding
Demonstrates
considerable
understanding
Demonstrates
thorough
understanding
Explanation
demonstrates
limited
organization
Explanation
demonstrates
some organization
Explanation
demonstrates
considerable
organization
Explanation
demonstrates
thorough
organization
Communication
Communicate
information clearly
Communicates
with limited clarity
Communicates
with some clarity
Communicate
information
effectively
Communicates
with limited
effectiveness
Communicates
with some
effectiveness
Communicates
with considerable
clarity
Communicates
with considerable
effectiveness
Communicate
information using
appropriate style
Limited ability to
communicate
using appropriate
style
Some ability to
communicate
using appropriate
style
Considerable
ability to
communicate
using appropriate
style
Communicates
with a high
degree of clarity
Communicates
with a high
degree of
effectiveness
A high level of
ability to
communicate
using appropriate
style
Demonstrates
limited ability to
apply creative
thinking strategies
Demonstrates
some ability to
apply creative
thinking strategies
Demonstrates
limited use of skills
and strategies
Demonstrates
some use of skills
and strategies
Demonstrates
considerable
ability to apply
creative thinking
strategies
Demonstrates
considerable use
of skills and
strategies
Demonstrates a
high level of
ability to apply
creative thinking
strategies
Demonstrates
thorough use of
skills and
strategies
Demonstrates
limited ability to
develop effective
products and
activities
Demonstrates
some ability to
develop effective
products and
activities
Demonstrates
considerable
ability to develop
effective products
and activities
Demonstrates a
high level of
ability to develop
effective products
and activities
Application
Demonstrate
ability to apply
creative thinking
strategies
Demonstrates skills
and strategies
used to develop
products and
activities
Use thinking skills to
develop effective
interdisciplinary
products and
activities